In deep with a lustful experience full of love, change, and dreamy illusions, Lana Del Rey is back and (almost) better than ever with her sixth album.

Her vintage vibe and ethereal persona are transparent in each of the 14 tracks on “Norman F*****g Rockwell!” and they all make me feel like Del Rey personally sprinkled me with fairy dust. Her words aren’t just lyrics to a song, they tell detailed and genuine stories of falling in love, falling out of love, and nostalgia. And, she’s got some jokes.

I adore Del Rey’s ability to stay true to her artistic self, but I also miss the Lana that gave us songs like “National Anthem” and “Blue Jeans.” For every few airy, dreamy tracks, I need at least one with a little more edge.

Djo, aka Joe Kreery, double aka Steve Harrington from Netflix’s “Stranger Things,” released a third song from his anticipated album “Twenty Twenty,” which is out on Sept.13. By the third season of the show, I didn’t think it was possible to love Kreery in his Harrington character more than I already did. Then he started releasing music and now he’s all I ever think about.

Joe, if you’re reading this, please don’t ever change.

This Friday in new music wasn’t exactly enthralling, but we did have the return of Lana Del Rey, some future number one hits, and a country song with two women whose lyrics are so realistically funny you can’t help but to let out a heartfelt belly laugh.

Put your headphones on. It’s time to dive in.

THE BREAKDOWN

“Norman F*****g Rockwell!” an album by Lana Del Rey

• If you were to put a fairy, princess, queen, and classic vintage mom with feminist morale into one person, Lana Del Rey would be the creation. Starting off the album, “Norman F*****g Rockwell” is a love song to a “man child” who wasn’t worth the time. It’s equipped with a piano ballad, flawless falsettos, and pure emotion pouring out of Del Rey’s soul, which I assume looks like black, majestic glitter. Subtle guitar strums take me over on “Venice B***h,” along with every breath I feel her take in between lyrics. With lyrics like, “You’re beautiful and I’m insane. We’re American made,” Del Rey paints a picture of a real-life couple, not the ones you see in the Hallmark movies. As boring as it may be, my favorite track on the album is her cover of Sublime’s “Doin’ Time.” Her version made me forget about the original and convinced me the song was actually made for her and accidentally ended up in the hands of the ska punk band. In “Love song,” Del Rey takes me on an emotional ride in the fast car she paints a vivid picture of in the first verse. Her habit of not holding back sets her apart from most of today’s recording artists. “How to disappear” brings me back to 1950s or 1960s New York City with stories of men who vanished. Del Rey’s purest talent is not songwriting, it’s storytelling. Signing off with “hope is a dangerous thing for a woman like me to have — but I have it,” it’s the most candid I believe Del Rey has ever gotten. She reels us into her writing process and breaks down the flaws in her hopefulness. Her writing in the last track is most certainly some of her best.

“Mortal Projections” by Djo

• Throughout the song his coolness is subtle, his vocals are better than anything I would have envisioned, and he has a vibrant, 80s touch. This release is similar to his prior two, but just different enough to have a life of its own. His style is extremely unique and takes me into a what I feel like the upside down would be like (“Stranger Things” reference, look it up). The different sounds in this track come off electric and nerdy-chic, curated with a mellow approach.

“Not 20 Anymore” by Bebe Rexha

• If you don’t know who Bebe Rexha is, you have been living in a bubble far, far away from the pop music world. For her 30th birthday, the American singer and hitmaker wants the world to know she doesn’t care how old you think she is. She feels good in her skin and the lines on her face may not have been there before, but with them came more wisdom and even more strength. With powerhouse vocals, it’s a power anthem for any aging woman. 

“Women Who Look Like You” by JP Saxe featuring Guapdad 4000

• New artist appreciation alert! The Los Angeles-based singer-songwriter caught my attention this week with his newest release. You ever go through a breakup and find yourself being attracted to people who look exactly like your ex? Saxe has and he portrays the feeling in pure pop fashion. With ingredients of acoustic guitar notes, dope backbeats, subtle vocals, and a rap feature, Saxe dishes out the perfect pop recipe.

“Crush” by DUCKWRTH

• I am truly digging DUCKWRTH’s funky hip-hop vibes. He reminds me of an early 2000’s Pharrel, but with a deeper voice and more range. “Crush” is fun, versatile and the artist’s free-spirited persona seeps right out of it. I’ve always been more inclined to a more subtle hip-hop style, and this is it. His habit of sing-rapping works and keeps his creative tone in tact. You can tell this guy barely has to make an effort to curate a hip-hop hit.

“Real Thing” by Ruel

• The Australian singer’s voice is completely enticing. He sits on the edgier pop side, but his vocals are just as sweet, if not more, than pop king Shawn Mendes. Whoever produces his music knows exactly how to work his vocal skills. “Real Thing” is vulnerable, catchy, and mesmerizing. Why isn’t this kid on billboards all across America yet?

“Berzerk” by Big Sean featuring A$AP Ferg & Hit-Boy

• The hip-hop/rap artists debuted this song on Monday at the MTV Video Music Awards and it goes HARD. Ferg and Sean go all in on this one and I expect to see it number one on the music charts real soon. I’ve been really disappointed with Big Sean’s music in the last few years, so this new release gives me hope for what is to come from him. His verses are on point, the beat is contagious, and the lyrics are unforgivable. 

“Way Too Pretty for Prison” by Miranda Lambert with Maren Morris

• I’m not a big Lambert fan, but her song-writing in this soon-to-be country hit is beyond fantastic. For every woman whose had evil, murderous thoughts about an ex, this song is for you. Prisons don’t have rhinestone ball and chains or lunch trays with Chardonnay, says Lambert, so keep that in mind when you’re plotting. I read an interview with Lambert where she said she wrote this song with a group of friends after a bottle, or two, of wine and it makes me love the song even more. Morris’ vocals really add the range to it, too. The next time a man does you wrong and you want revenge, remember that orange jumpsuits will wash you out and the state won’t pay for your eyelash extensions.