NOTE: I am ashamed at just how many ‘pussy’ related witticisms that I was tempted to include, before I realised that I may as well have been reviewing ‘Cola’.
Sadly, once ‘love’ and ‘the beach’ collide in song, it’s only natural to envision just how little in the way of clothing that our singer’s characters are wearing, and there is no hope of them ever being sober, or anything but filthily blunt. All in good fun of course, enough that Lana Del Rey gives it a nod, as on the west coast “if you’re not drinkin’ then you’re not playin'”, and “baby” perhaps rivals ‘the’ as the most common word.
However, that is where the comparisons end. ‘West Coast’ however is a whispery, seductive stare and crawl towards her darling. Masterfully produced by Dan Auerbach of The Black Keys, ‘West Coast’s humming and pulsing bass synth and lone surf rock guitar, atmospherically ring around the hypnotic echo of Del Rey’s breathy vocals.
Its somewhat freeform sounding format, slowing and subtly accelerating between its verses and chorus, creates a soothing and atmospheric, slow-motion sink into the Californian sunset-lit ripples and waves. As it turns out, it is a rare occasion that so many whispers of “ooh baby” are no longer filler, but an intimate stream of consciousness.
Del Rey might be best known as the token, misery-guts amongst the myriad of ladies in the chart, whose edgy veil was somewhat lost once she began singing about how her nether regions taste. Like Pepsi-Cola, in case you were interested. After all, ironically, in this day and age, one needs to be the clean one, to be the rebel on the airwaves. And so, the lead single of Del Rey’s upcoming album Ultraviolence, suggests the album might not be as destructive as the Alex DeLarge influenced title suggests.