Hello, this is the Pitchfork Review.

I'm Jeremy Larson, the reviews director, and today we are going to talk about the rich and sad and complicated text that is Lana Del Rey, and her ninth album, Did You Know That There's a Tunnel Under Ocean Boulevard?

Joining me to untangle this fishtail braid of beauty, grief, and love songs about Margaret

Qualley is Pitchfork contributing writer Olivia Horn, who hasn't done a cartwheel since she

was nine, and Pitchfork senior editor, Anna Gautza, who just called to say, you're fucking up

big time.

Anna, Olivia, how you feeling today? Feeling good. Hello. Hi. Happy to be here.

Are you feeling like you're ready to talk about an album that is mostly about death and sadness and how you're

not sure if you can get off pills to have a child? Doesn't this sound like a great pop album?

I am a brennial sad girl, so I'm ready.

I love La de L'Al-Dle-Rae.

It is a cliche when you read a press release that describes an artist's album as her most personal album yet.

And yet for Lano Del Rey, I think that's what we're faced with here,

a song that deals specifically with her mother, her sister, her uncle, a guy she knew in high school.

It's all kind of cast under this large shadow of death and melancholy and sort of like personal introspection that hangs over this album.

So to retrace the path of Lana Del Rey from her debut album to hear would be like,

I don't know, trying to summarize what happens in Middle March. So Born to Die, that's really kind of when

Lana met the press and the press was none too kind to Lana. What do you guys remember from that era?

I mean, Born to Die came out in 2012. I was not a music critic at that time.

I was just like an average nobody on Tumblr where, of course, you saw Lana Del Rey all the time.

She had like an image that really worked for that medium and, you know, the sad girl kind of appealed.

Don't make me sad.

...