Lana Del Rey, “Did You Know That There’s a Tunnel Under Ocean Blvd.”

Lana Del Rey’s ninth studio album, Did You Know That There’s a Tunnel Under Ocean Blvd, is an exercise in opposites. It’s intimate but expansive, exploratory but familiar, lush but spacious.

The New York-bork singer-songwriter enlists an all-star cast of collaborators to deliver a blockbuster once again. From the opening moments of “The Grants,” the record brings listeners in, allowing us to be a fly on the wall to this 16-track set.

Opening with a quiet and beautiful harmonized vocal, it cuts to a quiet piano and Lana Del Rey’s signature delivery. Over the next four minutes, the song builds, incorporating orchestral elements and the return of the choir. It’s a stunning piece and a statement piece.

“There’s a girl who sings ‘Hotel California,’ Del Rey declares, dropping the Eagles reference into the title track “Did You Know That There’s a Tunnel Under Ocean Blvd.”

The track is a slow burn, with a similar kind of build-up as the opener, but takes it to a much different place. The quiet complexity of the instrumental is really something to behold, the number of sounds going into what first appears like a fairly simple song is impressive. “Sweet” keeps things simple, just a piano with a light layering of strings. Lana Del Rey delivers a wordy, soft-spoken vocal, not really following a traditional verse/chorus/verse structure. This one feels geared toward classic cinema in its production.

Some tracks are more of a journey, case-in-point seven-minute opus “A&W.” The song is broken down into three acts, from the piano-laden intro to the moody, synth body and a brooding beat-heavy closing. Pop on a pair of headphones for an even more dramatic sonic journey with the various sounds and layerings. The song is unusual in the best way.

The album also features two extensive interludes, one a piano-led spoken piece by celebrity “Churchhome” pastor Judah Smith and another putting musical backing to Lana Del Rey’s collaboration with multitalented musician, and former “Late Show with Stephen Colbert” bandleader, Jon Batiste.

At more than six minutes long, “Kintsugi” is another piano ballad that has Lana Del Rey taking a lyrical journey. The song also veers away from a traditional song structure. “Fingertips” offers a production different from many of the other songs on the album. The vocals are bright and shimmering rather than muted. Again, it feels more like a soundtrack to classic cinema.

“Paris, Texas” simplifies things; it has a lightly strummed guitar and the twinkling of a piano loosely matching the note’s of Lana Del Rey’s vocals.

“When you know, you know/ That’s it’s time to leave like the summer breeze,” she sings.

She then brings back the dramatic orchestration on “Grandfather please stand on the shoulders of my father while he’s deep-sea fishing,” as wordy of a song title as you’ll find. It starts off simple before reaching a powerful crescendo, then falling back down like a wave crashing against the shore.

Properly, Father John Misty shows up on the lush Americana balladry of “Let the light in,” a beautifully spacious ballad.

One of the album’s strongest moments comes on Bleachers collaboration “Margaret.” The track infuses a quick dose of Jack Antonoff before introducing a massive harmonized chorus that manages to feel both intimate and larger than life.

“You wanted me sadder,” she sings on the introspective ballad “Fishtail.” The track jumps between that vibe and mid-tempo R&B groove. “Peppers” offers the biggest departure due to its verse by Canadian rapper Tommy Genesis. Mixing pop, alternative music, hip-hop, blues and even more spoken-word poetry, it covers a lot of territory. The record closes out with the brooding pop of “Taco Truck,” another stellar song and one of the more upbeat tracks in the entire set.

Follow writer Mike DeWald at Twitter.com/mike_dewald.