Blue Banisters review: Lana Del Rey doesn't stray far from her woozy melancholia.

Blue Banisters review: Lana Del Rey doesn't stray far from her woozy melancholia.
For her second full-length release in six months, Lana Del Rey revisits, with a vengeance, the All American, blue jean aesthetic of her early records.
Blue Banister’s title track feels like a hillbilly cousin twice-removed of her breakthrough single Video Games, with Del Rey proceeding, at that familiar languid pace, towards a soaring “oh -oh” chorus.
There are callbacks, also, to her grittiest moment, 2014’s Ultraviolence, with the track Cherry Blossom having its origins as an outtake from that LP (it retains Ultraviolence’s bluesy, bruised quality).
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Yet if Del Rey is retreating to recognisable tropes she is mixing things up too.
She has parted way, for now at least, from regular producer Jack Antonoff.
And she is reported to have scrapped an earlier version of the project, made with Antonoff, to instead work with hip-hop engineer Mike Dean (she also dropped the original album name of Rock Candy Sweet).