- LANA DEL REY ALBUM COVER CHEMTRAILS OVER THE COUNTRY CLUB HOW TO
- LANA DEL REY ALBUM COVER CHEMTRAILS OVER THE COUNTRY CLUB SERIAL
On Chemtrails, she’s exploring America, pining for Oklahoma and Arkansas in “Tulsa Jesus Freak” and for Nebraska in “Not All Who Wander Are Lost.” The opener, “White Dress,” details an eventful trip to Florida.Ĭhemtrails is a subtle scaling back of the already sparse sonics of Rockwell. “Everything’s burnt here / There’s no escaping it,” she laments in “The Land of 1,000 Fires.” In “SportsCruiser,” she’s taking flying and sailing lessons to clear her head in “LA Who Am I to Love You?,” she tries (and ultimately fails) to make San Francisco work for her instead.
That album’s itch to escape Los Angeles bled into the writing collected last year in Violet Bent Backwards Over the Grass, Lana’s first book of poetry and spoken-word album.
LANA DEL REY ALBUM COVER CHEMTRAILS OVER THE COUNTRY CLUB SERIAL
Rick Nowels, who co-wrote and co-produced “Summertime Sadness,” “High by the Beach,” “Lust for Life,” and many more Lana classics, accompanies the singer once more on the sparse, skeletal “Yosemite.” What sets Chemtrails apart from its predecessor is a hint of lightness, the lilt in the drums driving “Tulsa Jesus Freak,” the swelling sweetness of “Wild at Heart,” the burst of harmony in the chorus of “Dark But Just a Game.” Rockwell was, in part, a musing on Golden State horror, haunted by serial killers, deceased rock stars, and “beautiful losers,” where our protagonist’s big dream is to escape the bustle of cities, to seek a quiet life with “a kid and two cats in the yard” while the getting was still good. Again, Rockwell producer Jack Antonoff supplies delicate instrumentation and production, continuing to assist his pop collaborators in finding joy in stillness - as he did with Lorde on Melodrama and with Taylor Swift on the back-to-back tearjerkers folklore and evermore - while revealing restraint to be a more interesting aspect of his creative tool kit than the signature bluster of Bleachers, fun., and Taylor’s Reputation. The last album’s skeleton crew returns for this month’s latest, Chemtrails Over the Country Club. What she has lost in hit potential, she has recouped in craft 2019’s Norman Fucking Rockwell! was a staggering achievement. What remains is the moving melody and emotion that older songs like “National Anthem” used to drown in the thick arrangements and beats that kept her records in contention on pop charts and radio. What made the journey from Born to Die to here an intriguing one is how Lana Del Rey has whittled uncompromising, jarringly direct music out of the often overwrought melodrama of her earliest songs, leaving a little excess behind at each turn.
LANA DEL REY ALBUM COVER CHEMTRAILS OVER THE COUNTRY CLUB HOW TO
It’s going to conjure the nightmarish underside to the American dream it’s going to show how nostalgia favors the good, how memory fails us, how weird and terrible things always are, and how to rise above it all. It’s going to be visualized through bleary Americana that almost seems to satirize the real thing, the way the unintentional ’60s kitsch of Valley of the Dolls is weaponized in the gauche Russ Meyer sorta-remake Beyond the Valley of the Dolls. You could hazard a guess about what the new album will sound like and what the new video will look like before you ever press “play.” It’s going to serve bleak, Nick Cave–ish chamber music, just sweet enough to render the darkness enticing.
Where others may express growth by expanding outward, taking bigger risks by dabbling unexpectedly in different genres and mediums, Lana gets a little better at being Lana every year. Chemtrails Over the Country Club is no exception.Īs her pop-star peers reinvent themselves every other year, Lana Del Rey focuses on the refinement of her songwriting, sharpening one unique musical idea over time.
Lana gets a little better at being Lana every year.