Just two months after Lana Del Rey released her new album Chemtrails Over the Country Club, the singer has shared three new songs from her next LP Blue Banisters.
Released quietly to streaming services without social media fanfare, the three songs are the title track “Blue Banisters” and “Text Book” — both co-written by Del Rey and Gabriel Edward Simon, Pitchfork reports — and “Wildflower Wildfire,” co-written and produced by Kanye West collaborator Mike Dean.
On April 27th, Del Rey revealed that Blue Banisters would arrive on Independence Day, July 4th; the singer previously hinted at a Chemtrails follow-up titled Rock Candy Sweet, but the Blue Banisters cover art uses the same cover art as that previously announced LP.
Following the release of Chemtrails Over the Country Club, Del Rey responded to a Harper’s Bazaar article “Lana Del Rey Can’t Qualify Her Way Out of Being Held Accountable” that was critical of the singer’s cultural appropriation.
“Just want to say thank you again for the kind articles like this one and for reminding me that my career was built on cultural appropriation and glamorizing domestic abuse,” Del Rey said at the time via Instagram Stories. “I will continue to challenge those thoughts on my next record on June 1 titled Rock Candy Sweet.”
Blue Banisters — which has not been formally announced yet by the singer’s label — would mark Del Rey’s third album over a year-long span, following her July 2020 spoken word album Violet Bent Backwards Over the Grass and March 2021’s Chemtrails Over the Country Club.
ALBUM REVIEWS
The leather jackets and skinny jeans worn by Noah Dillon and Chandler Ransom Lucy have become something of a signature, and the pair have hovered around the edges of the pop worlds in New York and Los Angeles for quite some time. First highlighted by NME during the Dimes Square resurgence in 2023, The Hellp have gradually stepped away from their earlier indie-sleaze imitation and leaned into something far more thoughtful. Their wild, neon-tinged party vibe has been traded for a more cinematic electronic approach that still holds onto a confident, self-aware attitude.
Dillon and Lucy started releasing music as The Hellp in 2016, with early mixtapes rooted in the chaotic nights and carefree behaviour once associated with NYC’s indie-sleaze staples like LCD Soundsystem and Yeah Yeah Yeahs. Over time, though, they’ve earned a steadily growing respect from critics. That rise has come through both their underground gigs, which have included a show at London’s Corsica Studios with Fakemink as support, and through Dillon’s expanding visual work that recently reached Rosalía’s ‘LUX’ album and a pair of music videos for 2hollis.
As ‘Riviera’ approached release, the duo shared: “We knew our next project would need to be a bit more mature… we refuse to become stagnant. ‘Riviera’ is more solemn, restrained and impassioned than anything we’ve done before.” The finished album feels like Dillon and Lucy carefully balancing identity and openness, theatricality and direct emotion.
The lead release, ‘Country Road’, carries a late-night heaviness, the kind of confession you would quietly tell a friend in a club’s smoking area. Its lonely tone is surrounded by glitching electronics and a rising bridge that points to the exhaustion that follows endless nights out. Tracks like ‘New Wave America’ and ‘Cortt’ deepen what the duo mention in their liner notes as a “desperate story of the disparate Americana.” Both pieces broaden the album’s emotional landscape and offer clear-eyed commentary on reluctantly stepping into adulthood.
When ‘Riviera’ shifts into ‘Doppler’, the tone brightens for a moment as hopeful synths lift Dillon’s words about yearning and heartbreak into an emotional peak. And in the final moments of the record, The Hellp land on something instantly familiar to anyone who has drifted away from the club scene. The Kavinsky-like opening of ‘Here I Am’ nods to their early inspirations, while the closing track ‘Live Forever’ arrives with a slow, grounded maturity, built around Dillon repeating the line: “I don’t want to live forever.”
‘Riviera’ holds far less disorder than The Hellp’s earlier releases. This turn inward marks an important risk for a duo once fuelled by the momentum of a downtown New York comeback. By easing off the frenzy, The Hellp have stepped out of the party’s lingering haze and returned with a style that feels more refined and more aware of itself than anything they have created before.
