Posts Tagged ‘Lana Del Rey’

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

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When Lana Del Rey emerged with the virally successful single ‘Video Games’ in 2011, she wasn’t someone who I had pegged for a long career. ‘Video Games’ had a unique atmosphere, a cinematic ballad with nostalgic Hollywood glamour, but also pigeon-holed Del Rey into a distinctive style.

Since then, Del Rey’s worked with different producers, who’ve provided different backdrops, but regretful and languid ballads have remained her bread and butter. To give her credit, she’s worked at her craft, shaking up her sound just enough to stay fresh while continuing to write fascinating lyrics, keeping her critically and commercially relevant.

The album “Norman F*****g Rockwell!”, largely written and produced by Del Rey and Jack Antonoff, has been widely acclaimed as Del Rey’s best album to date. It has manifested gradually – the excellent singles ‘Mariners Apartment Complex’ and ‘Venice Bitch’ appeared a year before the album giving us a taster of the songs.

Del Rey has credited the chaotic presidency of Donald Trump and worsening environment threats with inspiring her the album which explores the decay of the American dream. Typically, it’s steeped in Californian nostalgia, with references to film and musicians like Crosby, Stills, and Nash, Dennis Wilson, and the Eagles. The album is named for the painter Norman Rockwell – he serves as a metaphor for immature men.

It helps that Del Rey is endlessly interesting. Her visual aesthetic for Norman F*****g Rockwell! has apparently consisted of submitting whatever photo she had on hand for her single and album covers – hence the Norman F*****g Rockwell! cover shot of Del Rey with Duke Nicholson, Jack Nicholson’s  grandson. She’s also exchanged words with critic Ann Powers, taking umbrage at Powers’ suggestion that Del Rey uses a persona – surely a difficult position for Del Rey to defend, her real name is Elizabeth Woolridge Grant, and the consistent lyrical aesthetic she uses.

Jack Antonoff is largely known for his synth-pop productions for Lorde, Taylor Swift, and Carly Rae Jepsen, but here he backs Del Rey with classy piano-based arrangements. The material is consistently excellent, but at 67 minutes with very little variation in tempo or style, Norman F*****g Rockwell! is less than the sum of its parts.

The song that deviates furthest from the Lana Del Rey template is ‘Venice Bitch’ – it’s almost ten minutes long, and the second half is given over to lovely psychedelic noodling

This is Lana Del Rey‘s sixth studio album “Norman Fucking Rockwell” has been released to a storm of critical praise and instant fan love and it’s easy to see how. Seventeen tracks of inward-looking barebones, atmospheric confessionals have created Lana’s most sincere and vulnerable outing to date, resulting in an album that feels both timeless and highly specific to the times we live in. Opening track ‘Norman fucking Rockwell’ is a manifesto piece for the album, swiftly asserting a wryly confessional tone granting insight into her real-world experiences of womanhood and the man who made those experiences more difficult against a backdrop of warm piano-led balladry.

The references to mid-century icons—The Beach Boys, Sylvia Plath, Slim Aarons—are all still there on her new album, but Norman Fucking Rockwell!, right down to its title’s dismissive interjection of “fucking,” plays out as both a send-up to old avatars of the American Dream and a dismantling of them. Of course, Del Rey is not the first pop star to critique the culture—Taylor Swift, Katy Perry, and Miley Cyrus have all attempted to “get woke” in recent years, with sometimes embarrassing results—but Lana’s approach has certainly been the most authentic.

Lana Del Rey stands amongst the wreckage with us, filtering the apocalyptic malaise of this year through sweeping, majestic piano ballads that recall twentieth century greats, delivering lines like “Goddamn, man-child / You fucked me so good that I almost said, ‘I love you’” on the title track, as if updating Joni Mitchell’s “The Last Time I Saw Richard” for the Tinder generation.  Despite the overall quality, the album’s not helped in that the most memorable material is clustered around the front. Along with ‘Mariners Apartment Complex’ and ‘Venice Bitch’, Del Rey’s cover of Sublime’s ‘Doin’ Time’ is also featured early. There are pretty piano ballads sprinkled throughout ‘Cinnamon Girl’, ‘The Greatest’, and ‘Hope Is A Dangerous Thing For A Woman Like Me To Have But I Have It’ are all diminished in impact by the album’s length.

It would be harsh to cull some of these terrific pieces, but there is a lack of stylistic variation, Norman F*****g Rockwell! is difficult to digest in one stint, and it would be better served with a shorter running time. Nostalgia feels so silly and indulgent now that even an artist who has built her name around an (at times, contrived) vintage romanticism cannot help but turn an eye toward confronting the times in which she is living, rather than rehashing the halcyon days of decades past.

Lana Del Rey – Norman Fucking Rockwell – Out Now

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Ahead of her next album ‘Norman Fucking Rockwell’, which is set to come out later this year, Lana Del Rey has now released the full version of her take on ‘Doin’ Time’, which featured on Sublime’s self-titled 1996 third album.

As Lana herself has observed (“Summertime Sadness”), summer is a uniquely despondent month. The days are hazy, lazy, and long; the sun never sets, it’s hot, it’s buggy. When you are a kid, you feel sad because you know summer will eventually be over and school will return; and when you’re an adult, you probably regret working too much and not taking advantage of the nice weather. Since summer always has a sting to it, who better to cover Sublime’s 1996 “Doin’ Time” than the dreamy, steamy Del Ray? We’re still waiting with baited breath on her full-length Norman Fucking Rockwell, but in the meantime, to hear Lana’s langorous iteration of “summertime and the livin’s easy” is a real treat.

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Lana Del Rey recently revealed that her new album Norman Fucking Rockwell is finished, and that she planned to put out a new song as early as next week. There has been two singles from it so far, “Mariners Apartment Complex” and “Venice Bitch” (the latter being, hands down, one of 2018’s best songs), but we’ve not yet been given a release date. What we do know is that Del Rey produced it with pop super-producer Jack Antonoff, marking the first time they’ve worked together, and will feature a lot of electric guitar, as she recently told Zane Lowe in a Beats 1 interview.

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Lana Del Rey has unveiled a potent new song, “Venice Bitch,” which is expected to appear on her next album, Norman Fucking Rockwell. The album is slated to arrive early next year.

“Venice Bitch” is a sprawling 10-minute cut co-written with Jack Antonoff. The track starts as an tender ballad, with Del Rey unspooling her unique mix of young love and contemporary Americana over an acoustic guitar and subtle strings: “Ice cream, ice queen/ I dream in jeans and leather/ Livestream, I’m sweet for you/ Oh god miss you on my lips/ It’s me your little Venice bitch.” Halfway through, though, “Venice Bitch” transforms into an airy psych-pop jam that coasts to a cerebral, polychrome end.

“Venice Bitch” follows the earlier new track “Mariners Apartment Complex,” another collaboration with Antonoff released last week. Del Rey spoke about working with Antonoff, saying, “We sat down in the studio in New York and he kind of started everything. He would just play chords for hours. He’s so good at piano, some of the stuff he writes just melodically is really kind of classical and in my case it ended up turning more folky. He made it really easy for me to just riff over everything he was doing. In our first week I had two songs I just thought were maybe two of the best songs I had written. He just has a lot of truth in him.”

Elsewhere, Del Rey discussed how she settled on the album title, Norman Fucking Rockwell. “So the title track is called ‘Norman Fucking Rockwell’ and it’s kind of about this guy who is such a genius artist but he thinks he’s the shit and he knows it and he like won’t shut up talking about it,” Del Rey said. “So often I ended up with these creative types or not or whatever and you know they just go on and on about themselves and I’m like yeah, yeah. But there’s a little bit of merit to it also. They are so good. I just like the title track so much that I was like ok, I definitely want the record to also be called that.”

Del Rey also spoke about the numerous other projects she’s working on, including a book of short stories and poems titled, Violet Bent Backwards Over the Grass. Del Rey teased more new music as well, suggesting she might put out another track in October.

Lana Del Rey performing Venice Bitch. © 2018 Interscope Records

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Lana Del Rey teams with Bleachers’ Jack Antonoff for a folky, psychedelic new song “Mariners Apartment Complex.” The track is expected to appear on her upcoming, Antonoff-produced sixth LP.

Del Rey ruminates on two of her favorite subjects, sadness and romance, throughout the brooding track. “I’m the board, the lightning, the thunder/ Kind of girl who’s gonna make you wonder/ Who you are and who you’ve been,” she croons over ornate piano, synth-strings and acoustic guitar. “And who I’ve been is with you on these beaches/ Your Venice bitch, your diehard, your weakness/ Maybe I could save you from your sins.”

The vocalist paired the cut with a black-and-white video featuring overhead shots of ocean waves, Lana Del Rey walking along a fence line and the performer gazing at a butterfly in her palm. Del Rey’s sister, mixed media artist Chuck Grant, helmed the clip.

Del Rey and Antonoff are currently in the studio working on the upcoming LP, which follows 2017’s Lust for Life and is due out in 2019. A second song from the sessions, “Venice Bitch,” will premiere on Tuesday, September 18th.

Lana Del Rey's 2015 "Honeymoon" single.

The album Honeymoon by Lana Del Rey swims, lounges and mugs for the camera in the impressionistic video for her Honeymoon tune “Music to Watch Boys To.” Although the clip features a few scenes that live up to the song’s male-objectifying title, the most curious vignette finds the singer reclining in a beach chair as gramophone horns spin around her and the silhouette of one of her boys plays basketball. Then, after a shot of them playing hoops, the camera gives her a close-up for her line about “singing soft-grunge.” Honeymoon is Lana Del Rey’s best yet album.

For her third long player ,the lyrical clichés that bogged her down before are still present, but far less frequently. In fact, those that remain often add charm to the Lana Del Rey experience. She’s finding her voice and owning a persona that’s unlike any of her pop peers. We’re ready to forgive her for whatever she was singing about Florida kilos — here are Honeymoon’s top 10 moments of Lana being Lana.

“All I wanna do is get high by the beach.” – “High By the Beach”

“Club queen on the downtown scene / prowling around at midnight” – “Art Deco”

Get ready to hit the club with Lana, and maybe Azealia Banks, the rumored subject of this song. When you open a song with this couplet you know you’re getting peak LDR; in this case, focused on fervor for 1920s American culture.

“Ground control to Major Tom / Can you hear me all night long?” – “Terrence Loves You”

Sometimes Lana’s lyrics really make the grade.

“Now you’re just another one of my problems / Because you got out of hand / We won’t survive, we’re sinking into the sand” – “High by the Beach”

There’s more to this song than the bowl-passing mantra of its chorus. In the second verse, Lana gets the upper hand on a lover who’s not worth it while alluding to the beach theme.

“Don’t you know, no one alive can always be an angel?” – “Don’t Let Me Be Misunderstood”

Lana didn’t write this one, of course, but she couldn’t have chosen a more lyrically appropriate song to take on.

“Come to California / Be a freak like me, too” – “Freak”

A lust for California has been in American pop music almost as long as there’s been American pop music. You know Lana’s Americana joy ride is going to stop there, and she doesn’t care if you think it’s cliché or not.

“When I’m down on my knees, you’re how I pray” – “Religion”

She’s made a lover her national anthem before, and now she’s calling one her religion. You better believe she’s going to juxtapose church with getting dirty.

“Calling out my name in the summer rain, ciao amore / Salvatore can wait / Now it’s time to eat soft ice cream”
“Salvatore”

Lana is putting love on hold for the munchies. “Now it’s time to eat soft ice cream”: coming to a meme near you in fall 2015.

“Beatboxing and rapping in the summer rain / Like a boss, he sang jazz and blues.” – “Salvatore”

“Carry me home, got my blue nail polish on / It’s my favorite color and my favorite tone of song.” – “The Blackest Day”

When the singer premiered the tune, which she co-wrote with “Summertime Sadness” collaborator Rick Boyles, on Zane Lowe’s Beats 1 show earlier this month, she called it one of her favorites on the LP. In an interview with Los Angeles Times, she spoke on the song’s evocative nature. “The title lends itself to a visual of shadows of men passing by, this girl’s eyes, her face,” Del Rey said. “I can definitely see things.”

Del Rey put out Honeymoon earlier this month and, prior to its release, recently premiered another song, “Salvatore,” via BBC 1. “[It’s] the most different from all the other tracks on the record,” she said at the time. “It has a little bit of an old world Italian feel, it’s kind of a weirder song, but I love the chorus.”

Del Rey has compared the album as a whole to her first two releases, Born to Die and Paradise. “It’s growing into something I really like,” she said of Honeymoon in an interview with Billboard in January. “I’m kind of enjoying sinking into this more noirish feel for this one. It’s been good.”

If you’ve ever called up one of those numbers you see in a movie or on an album sleeve, the likelihood is you will be put through to an automated line or the number won’t exist. The chances of you speaking to anyone actually interesting are very, very slim.

Lana Del Rey’s doing things a little different. On her latest release,Honeymoon, she included a phone number on the cover: 1-800-268-7886. Surprisingly, if you call the number, it goes straight to Lana .

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Lana del Rey has premiered the official music video for her latest single “White Mustang”. The video came out today and now her global fans can watch it on the internet.

The single “White Mustang” is taken from Lana’s fifth studio album “Lust For Life”. The single is co-written by Rick Nowels and Lana so you can expect some fire lyrics. In the opening verse, Lana is talking about packing her stuff and getting ready for the summer but he never called even though he took her number. Despite that, Lana likes her boy. Now with that kind of start to a song, I expect a lot of good things coming up in the remaining lyrics. I hope you’d enjoy how Lana has picturized this song. This video is just a killer.

In the music video, you will see Lana showing her killer looks on-screen. I absolutely adore how beautiful she looks and how she changes her emotion based on what she is singing in the song. You will see her dancing in the slow motion in the video.


J. ERIC SMITH

Slow molasses drip under a tipped-up crescent moon.

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