Overall Ranking 8.6/10
Lana Del Rey has released her ninth studio album titled “Did you know that there’s a tunnel under Ocean Blvd.” Almost a year after her extremely personal album, “Blue Banisters,” “Ocean Blvd” is a grounding album for the artist with experimental sidequests alongside her classic sound. It’s full of existential reflection on her own mortality, the complexity of family, details of her childhood, the looking-glass self and the twisted reality of love.

Here is my ranking of the songs in the album.

“The Grants” — 6.5/10
It’s a beautiful entry into the album. It’s personal, but I felt it was lacking a bit of depth. Reminds me too much of her unreleased song, “Yes to Heaven.”

“Did you know that there’s a tunnel under Ocean Blvd” — 9.5/10
Wow. The comparisons of her life, her music and her poetry to that of an abandoned locked-up tunnel are absolutely gorgeous and unique. Amazing production value and overlay.

“Sweet” — 8/10
Vocals are clear and strong but still reminiscent of the softness of earlier Lana. This song is an existential ode to a lover we all know but have never met.

“A&W” — 10/10
I can’t get enough of this song. When Lana gives length, you know it’s going to be something experimental, breathtaking and shocking. From the background vape to the sampling of Little Anthony and the Imperials. It is an unexpected blend of vocals, folk rock, and trap music. Thank you, Jack Antonoff.

“Judah Smith Interlude” — NA
An interlude from a new-age homophobic influencer meets pastor with a giggling Lana in the background … Is it irony or a descent into a born-again Christian? I don’t feel comfortable rating this one.

“Candy Necklace” (feat. Jon Batiste) — 8.5/10
The push and pull of the heavy piano creates a beautiful dance of the tongue. A rollercoaster of a song in the best way. Some of the lyrics in this one are a bit cheugy, but I would never expect less from Lana.

“Jon Batiste Interlude” — 10/10
Chaotic and comforting. Exactly what I need from an interlude. You can feel the playful and artistic exchange between Lana and Batiste.

“Kintsugi” – 9.5/10
Hauntingly reflective. This song feels the most reminiscent of Blue Banisters. I feel everyone I’ve ever loved while listening and the light they allowed me to feel after. Metaphors upon metaphors.

“Fingertips” — 8/10
This is a strong example of Lana’s storytelling and prose. The connection to childhood and family reveals a deeper side of the artist.

“Paris, Texas” (feat. SYML) — 7.5/10
There’s an almost classical undertone to this with a spotlight dancer twirling around in my mind while Lana sings. I would love to see visuals for this one.

“Grandfather please stand on the shoulders of my father while he’s deep-sea fishing” (feat. RIOPY) — 10/10
This song has a very coming-of-age, ending-credits vibe. Something inside me is dying to drive through the canyon or along the coast with the windows rolled down listening to this one. The overall composition paired with her unique lyrical capability feeds a part of my brain that is rarely fed.

“Let The Light In” (feat. Father John Misty) — 8/10
Her collaborations with FJM always bring a smile to my face. Easy listening, transportive and fun.

“Margaret” (feat. Bleachers) — 8/10
Jack’s smoky voice is something new and refreshing. The song is not too deep, but memorable and quick. I love the candidness.

“Fishtail” — 9.5/10
This is the direction I love seeing Lana head towards. It feels innovative without losing herself into the mainstream or someone else’s vibe. I would love to see her push this experimental sound even further and play with the unexpected.

“Peppers” (feat. Tommy Genesis) — 7.5/10
Tommy Genesis is an interesting but understandable choice. I’m dying to see Lana’s music library. However, something feels missing production-wise. This one could be a good choice for other artists to remix.

“Taco Truck x VB” — 9/10
As a Venice Bitch stan for life, I was excited to hear this one. A “Honeymoon” and “NFR” love child that I’m adopting. This one is for longtime fans.