From the decadent cover photo to the modest atmosphere, the record seemed like an afterthought to the swollen pathos of Norman Fucking Rockwell, her Jack Antonoff produced 2019 blockbuster. While cherished colleague Tim Sentz found quite a lot to like about it, the record seemed to mostly fizzle out with the majority of the staff. However, last week, the crowd was smaller than last time around, when Chemtrails over the Country Club dropped earlier this year. The crowd huddles around our editor’s desk, as he presses PLAY first thing in the morning – and whoever first has ‘Bingo!’ is awarded the review. Like most big pop stars, Del Rey is somewhat of a controversial figure in the office, and the writers brought in their patented ‘Lana Bingo Cards’ sheets of paper with tropes or terms often found in the singer’s songs (most cards include ‘mention of word Daddy’ and ‘reference to The Velvet Underground’, while ‘reference to being high’ is only rarely to be found nowadays). Now, last Friday marked a very special occasion, as it saw the release of Lana Del Rey’s new album, Blue Banisters. Often, those positions differ, and individual perspectives add to a greater understanding, revealing shades to a work a different writer might have missed. By break time, there’s usually a bubble hanging around the watercooler, exchanging opinions and angles on what could potentially be an interesting piece of writing. With the week’s new releases coming in, the writers huddle around each other’s desks, listening in to the most anticipated albums, furiously making notes.

For once, let’s give a look behind the curtain of Beats Per Minute…įridays are an especially busy day over at the office.

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