Posts Tagged ‘Chemtrails Over the Country Club’

The last week belongs to Lana Del Rey. We were blown away by her last album. “Chemtrails” which only builds on her success we couldn’t be more pleased for her.

Though its release date has been delayed a few times now, all signs point to the acclaimed songstress’ seventh studio album surfacing soon, with the official pre-order and video for the title track . In the meantime, lead single “Let Me Love You Like A Woman” offers more than enough to whet our appetites for the new project, which its creator describes as “folky … beautiful … super different from Norman F**king Rockwell!”.

Fame and Del Rey’s disregard for it is a recurring theme on her seventh album ‘Chemtrails Over The Country Club’. On opening track ‘White Dress’, she explores her longing for a time when she was yet to find success; she delivers it in a rasped whisper so urgent it sounds like she’s trying to transport herself back there. “I felt free because I was only 19,” she sings of days and nights spent waitressing and listening to jazz, Kings Of Leon and “White Stripes when they were white hot”.

Perhaps it’s a case of the grass always being greener – pre-fame Lana surely wouldn’t have imagined achieving all she has and wanting to be back bussing tables – but she closes the song rationalising her desire to go back: “Because it made me fee… like a god/ It kind of makes me feel like maybe I was better off.”

The sublime, dreamy float of the title track is similarly nostalgic, calling back to a time where “there’s nothing wrong, contemplating God / Under the chemtrails over the country club”. It’s gorgeous and idyllic, distilling a scene of quintessential Americana into its most poetic form. Del Rey even manages to make the most mundane of chores and activities sound magical: “Washing my hair, doing the laundry/ Late night TV, I want you only”.

Conversely, on the romantic waltz of ‘Wild At Heart’, she’s in the here-and-now, evoking a scene of being chased by the paps, fingers on the shutter. “The cameras have flashes / They cause the car crashes,” she sighs, with an important distinction to make lest anyone get things twisted: “But I’m not a star.” ‘Dark But Just A Game’, which shifts from brooding trip-hop atmospherics to brighter folk licks, was inspired by a party at Madonna’s manager’s house and finds Del Rey explaining she doesn’t “even want what’s mine / Much less the fame”.

Later, she shares a lesson she learned from watching those who came before her: “We keep changing all the time / The best ones lost their minds / So I’m not gonna change; I’ll stay the same.” Rather than whinges about the privilege of being rich and successful, these are sharp observations on buying into your own celebrity and the impact of society’s thirst to know everything about our idols.

The LA-based musician’s last album, 2019’s ‘Norman Fucking Rockwell!’, saw her hit a career-high with a record that instantly cemented its place as an all-time great. Yet with ‘Chemtrails…’ Del Rey follows it with ease, riding that record’s creative high but looking further back into her past to tie her whole story together in one place.

On first listen – and especially after the more organic sounds of ‘NFR!’‘Tulsa Jesus Freak’ might come as a shock. Del Rey’s voice is fed through Auto-Tune and vocal processors, aping the production of the mumble rappers she declared her love for on her last album cycle. Incorporating elements of hip-hop into her timeless pop is nothing new for Lana – she’s been doing it since her ‘Born To Die’ era – but it’s exciting to hear her invention and refusal to be restricted.

There are plenty of Easter eggs littered throughout the record, connecting it to past releases. On the title track, she sings, “You’re in the wind, I’m in the water”, harking back to ‘Brooklyn Baby’’s “I think we’re the wind and sea”. She repeats ‘Mariners Apartment Complex’’s assertion that she “ain’t no candle in the wind” on the quiet fingerpicked folk of ‘Yosemite’ and ‘Tulsa Jesus Freak’, while ‘Wild At Heart’ brings back the character of Joe, who previously appeared on ‘NFR!’’s ‘How To Disappear’ and her spoken-word poem ‘Never To Heaven’.

As well as paying tribute to herself, on ‘Chemtrails…’ Del Rey carves out space for her heroes and current favourites. ‘Breaking Up Slowly’ finds her swapping verses with country singer Nikki Lane. “I don’t wanna live with a life of regret / I don’t wanna end up like Tammy Wynette,” Lane sings at one point, before Del Rey references the vintage star’s third husband George Jones: “George got arrested out on the lawn / We might be breaking up after the song.”

The album ends with a poignant cover of Joni Mitchell’s ‘For Free’, which features Arizona rising singer-songwriter Zella Day and Weyes Blood’s Natalie Mering. On the penultimate track ‘Dance Til We Die’, Lana sings, “I’m covering Joni and I’m dancing with Joan / Stevie is calling on the telephone.” It’s a reminder that, more than just being influenced by the likes of Joan Baez and Stevie Nicks, she’s now on a par with them. Lana Del Rey is at the peak of her game – just don’t expect her to come down anytime soon.

Lana Del Rey has been one of the most successful and influential artists of the last decade, without ever making a great album. Her brooding ballads, dipped in faded Hollywood glamour, have helped to shift the landscape of modern popular music 

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Lana Del Rey revealed news of her Norman Fucking Rockwell! successor “Chemtrails Over the Country Club” in May, announcing it along with her first published collections of poetry. She teased one unreleased song called “Tulsa Jesus Freak,” tagging frequent collaborator Jack Antonoff, before sharing the new track “Let Me Love You Like a Woman” in October. On January 11th, she’ll share the music video for the Chemtrails title track, and she’s said to expect the whole album some time in March.

No stranger to vintage cinematic flair, Lana Del Rey reaches for both sumptuous glamor and retro horror in her latest video. Bedecked in pearls and lace, the singer and her friends lounge by a pool, watch old home movies, and ride around in a candy-apple-red convertible (where she also shows off that infamous bejeweled mask). A darker theme tugs at the corners of the relaxed scenes when a Wizard of Oz-style tornado sucks up the titular country club. Suddenly, Lana and her crew turn into werewolves and dance around a crackling bonfire, flipping this moneyed portrait into a decadent nightmare.

Since releasing Norman Fucking Rockwell! (among our favourite album’s of 2019), Lana Del Rey did some side projects, but 2021 will be the year Norman finally gets its highly anticipated followup, Chemtrails Over The Country Club (which, like Norman, was produced by Jack Antonoff). “I love it. It’s folky. It’s beautiful. It’s super different from Norman,” Lana said.

The New Album ‘Chemtrails Over The Country Club’ – Out March 19th

Lana Del Rey / Chemtrails Over The Country Club

Lana Del Rey will release a new album, “Chemtrails Over The Country Club”, in March. Lana Del Rey is back with a brand new studio album, hot on the heels of last year’s audiobook and poetry collection, Violet Bent Backwards Over The Grass and her Grammy-nominated sixth Norman F**king Rockwell. If the first hints of new music is anything to go by, we’re back to what Lana does best – vintage pop with an overdose of nostalgia, but the melodies are timeless. The new single is the second offering off the upcoming album, following “Let Me Love You Like a Woman” and is a tender piano ballad that was produced by Jack Antonoff.

we are a big fan of Lana Del Rey’s 2019 album Norman Fucking Rockwell. The singer detailed the new project back in September during a feature in Interview Magazine. “I’ve been really stressed about this album,” she confessed at the time. “From the top, we knew what Norman was. But with Chemtrails, it was like, ‘Is this new folk? Oh, god, are we going country?’ Now that it’s done I feel really good about it, and I think a defining moment for this album will be ‘White Dress/Waitress.’”

It’s an 11-track album and is available as an Amazon-exclusive BEIGE-coloured vinyl (available in different regions), or an indie-exclusive YELLOW vinyl. There’s a standard CD in a jewel case but also a CD box set edition which looks a bit rubbish since it only contains a few artcards a 12-page booklet and a print – and costs a whopping £45!

The New Album ‘Chemtrails Over The Country Club’ – Out March 19th