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Lana’s life in a fish­bowl

Lana Del Rey stays in char­ac­ter on

Lust for Life (★★★★), her fourth and lengthy al­bum, ex­pand­ing her takes on per­sonal ob­ses­sions in­side her fish­bowl with ob­ser­va­tions about liv­ing in Amer­ica. A youth­ful lady of per­pet­ual sad­ness, Del Rey still sounds like a torch singer, but this time she also re­flects on the flames in the world around her. The 16-song al­bum opens with the mag­nif­i­cent Love, cap­tur­ing the nat­u­ral ec­stasy of ‘‘to be young and in love’’. On the ti­tle track, the Weeknd helps her spell out ex­actly what it’s about. The cin­e­matic 13

Beaches ad­dresses the chal­lenges of in­ti­macy dur­ing life in the spot­light, while the sec­ond-half of the record be­gins with three tunes – Coachella – Wood­stock In My Mind, God Bless Amer­ica – And the Beau­ti­ful Women In It and When the World Was At War We Kept Danc­ing – which leave the fish­bowl be­hind. Ste­vie Nicks is a ver­sion of Del Rey fur­ther up the road on Beau­ti­ful Peo­ple Beau­ti­ful

Prob­lems, while Sean Ono Len­non has never sounded more like his fa­ther than on To­mor­row Never

Came, which also tips its hat to Ge­orge Har­ri­son, Bob Dy­lan and El­ton John. There’s plenty to ab­sorb and few mis­steps on Lust

for Life, a long, metic­u­lous trip with re­wards at every stop. - Pablo Gorondi, AP

Alice’s wel­come re­turn

School is back in ses­sion as Alice Cooper teaches us how it’s done on

Para­nor­mal (★★★★). In fact, the shock-rock god­fa­ther lit­er­ally goes old school on this two-disc set, re­unit­ing most of the orig­i­nal Alice Cooper Band from the 70s on two tracks. Gui­tarist Michael Bruce, bassist Den­nis Du­n­away and drum­mer Neal Smith join Cooper on Gen­uine Amer­i­can Girl, a satiric look at gen­der iden­tity from one of rock’s orig­i­nal gen­der­ben­ders, and You and All of Your

Friends, an apoc­a­lyp­tic re­venge song against those who de­spoiled the planet. Cooper is just as lethal with his cur­rent band. Dy­na­mite

Road is his own Detroit Rock City, about a fa­tal car crash that kills his en­tire band, but leaves Cooper alive to com­plain that God al­lowed his beloved Cadil­lac to be to­talled.

Rats is a jaded look at how politi­cians, en­ter­tain­ers and big busi­nesses view the pub­lic. It could have been a Chuck Berry an­them but for the lyri­cal con­tent, urg­ing us to ‘‘give the rats what they want’’. - Wayne Parry, AP

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