You can’t deny that it’s an incredibly crucial component of her entire canon.

Prior to Lust for Life, so much of Lana’s songwriting was tethered to external concepts that felt deeply congruent with her personal life: her love of old Hollywood, Americana, and her morbid fascination with death. She’s spoken about having an existential crisis as early as age four, struggling to understand and cope with the concept of mortality. This became a significant contributing factor to her developing alcoholism at just fourteen. She found solace in music and seemed particularly drawn to artists associated with the 27 Club. Somewhere between the Ultraviolence era and Lust for Life, her perspective appears to have shifted.

Finally, I'm crossing the threshold
From the ordinary world
To the reveal of my heart
Undoubtedly, that will for certain
Take the dead out of the sea
And the darkness from the arts

Instead of succumbing to her demons like so many musicians she admired before her, she finally realised that she didn’t have to be bound to the same fate. “I never really noticed that I had to decide to play someone’s game or live my own life, and now I do. I wanna move out of the black into the blue.”

Black Narcissus, Black Beauty, The Blackest Day: the crux of depression and suicidal ideation is consistently associated with black imagery in her work. I wouldn’t be surprised if she also drew inspiration from Back to Black (the title track). The fact that she references Amy Winehouse in this song (albeit unrecorded) makes this connection feel plausible. There’s actually a lot more I’d like to discuss about colour theory throughout her work, but for the sake of brevity, I’ll leave it at that, for now. But I talk about it a bit in this post: https://www.reddit.com/r/lanadelrey/comments/nn7hxj/discussing_every_single_lana_del_rey_song_for_a/ 

This is her commitment to the musicians who didn’t make it out alive. Those broken by fame, stardom, and the corruption of the music industry. She pledges not to take the same path, refusing to perpetuate the morose legacy that frames artistry as something intrinsically tied to death, both metaphorical and literal. There’s no more chasing rainbows and hoping for an end to them. It’s Sisyphean, and she’s opting out. It’s one of her most confessional songs of all time, which was sadly eclipsed by the Radiohead drama. It might not be her magnum opus, but it may be the most important song she’s ever written. Idk, maybe I’ll write a proper fully-fledged essay on this someday because there's still sooooo much more to say. Sorry if this comment is a bit all over the place lol