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A gospel choir begins. Named after the surname of Lana Del Rey, The Grants is a touching ballad. The title track follows – and the doubting: Under the city is a tunnel, magnificent and hidden. Do you even know it exists? Now we know, because she reminds of him. The culmination of this amazing album is “A&W”, a seven-minute séance that turns from a darkly glamorous piano piece into a horror trap trip. The impressionistic piano waltz “Paris, Texas” is particularly beautiful. Del Rey is in ambitious mode, in statement mode; the album has sixteen tracks and runs eighty minutes, there is the minute-long field recording of a Pentecostal church service and an interlude by star pianist Jon Batiste.
Two or three pieces less would not have hurt. Then again, there must be the monumental, the overwhelming, of course, also in the running time. In the end, Lana is back in this world, driving with her boyfriend and listening to the Chili Peppers. These are the things we will miss the most.
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