Venice Bitch - Lana Del Rey

Roughly a week after the release of "Mariners Apartment Complex," Lana Del Rey released "Venice Bitch," to unsurprisingly widespread acclaim and joy with the overall notion that Lana Del Rey is back in full form. Much like "Mariners Apartment Complex," "Venice Bitch" is another introspective and dreamy-oriented track that coexists perfectly with the unwinding of summer, and the subsequent end of romantic endeavors that surely encapsulates the persona of summer. Fortunately for Lana Del Rey fans, these two singles are said to be part of her upcoming fifth studio album, Norman Fucking Rockwell, set to release in 2019 and is sure to continue this sonically synth-driven landscape that appears to personify Lana Del Rey's Californian America.  

Although roughly ten minutes long, Lana Del Rey has insisted to her managers that "Venice Bitch" be the lead single for Norman Fucking Rockwell, instead of a conventional pop track as reiterated in an interview with Mike Nied from Idolator, "I was like well, end of summer, some people wanna drive around for 10 minutes [and] get lost in some electric guitar." It couldn't be more omnipresent within the track, the feeling that summer is coming to a close. Although, its release mirrors summer's end, I would imagine the myriad of seasonal reflections would not alter the feeling that "Venice Bitch" is able to invoke. The romantic and dreamy elements intertwined with the vibrato and slowly encroaching synthesizers creates an almost visceral feeling of the last days that flip flops can be worn (east coast problems). 

The romanticism is evidently clear in Lana Del Rey's reprise "Oh god, miss you on my lips," and her reminiscence of the fading season "You're in the yard, I light the fire/And as the summer fades away/Nothing gold can stay." Apparent clichés aside, the crux of this romanticism and the clarity to distinguish between a fleeting summer feeling for everyone versus Lana Del Rey's is the personality and vernacular sprinkled throughout "Venice Bitch." 

For instance, Lana Del Rey's recurrent identity as the titular "Venice Bitch" in relation to the significant other. She is that Venice Bitch for her significant other, considering implications of a relationship that only concerns the two of them. Other distinguishable characteristics of vernacular personality are her references to her times "on the stoop with the neighborhood kids," or getting high "out back in the garden," expressing events and moments while seemingly uninspiring, have discernible importance to Lana Del Rey and resonate in this relationship and the endeavors surrounding it.   

The greatest sentiment and frankly, the verse that is most likely to instill the "aw effect," is "we're American made." It's simple, yet succinct to encapsulate their relationship and its common but personable place in the grand scheme of American culture, while also serving as a benchmark within the song to summarize to the reader just what this song entails. A yearning for the continuation of the summer lovin,' but most imperatively, to live within those ephemeral moments that you wish you could snuggle with until you're finally met with enough satisfaction to at least go forthwith and establish new moments to want re-live again. I suppose nostalgia and romanticism has a way of fucking us up.