Lana Del Rey has had a pretty big year. Coming down from the high of 2019’s Norman F’ing Rockwell, to the release of her first book, “Violet Bent Backwards Over the Grass”, it’s safe to say that these are her prime years. In Chemtrails Over the Country Club, she continues to ride the wave and has given us a great new collection of stories.
The album starts off with a song that I consider to be a little bit of a misfit. Stylistically, I know what she’s doing – reflecting on her days before fame and wondering whether all of this has been worth it, but in execution, it comes off as kind of awkward. It feels like a strange way to start an otherwise engaging body of work. Admittedly, it does fit, but I don’t know… I guess I would’ve made it the final track. I’m not Lana though, so who cares what I think.
I like the fact that this album is shorter and more fully fleshed out than Norman was. I felt like that album dragged itself out and while it was a great album, it would’ve done well as a two album project, at least according to my attention span. Chemtrails is certainly a winding road, but we end at a destination, there’s no ground left to cover here. It’s a return to the music I think she has always been wanting to make, even before becoming Lana Del Rey.
I really like this iteration of Lana. She’s secure in her choice of grassroots, homage-to-Joanie-Mitchell romanticization of the 70s. So secure in fact, that she covered one of Mitchell’s songs as the final track. And despite all of her various media controversies, we always know where her heart lies because of her songwriting. This album is a love letter to the people she loves.
A vein that has always run through her music is the wish to return to a time before fame, to return to anonymity. But Lana can’t stay out of the spotlight. Even as I’m writing this, a day after Chemtrails released, she announced yet another album, Rock Candy Sweet with a date of June 1st. For a gal who seems obsessed with wanting a house in the middle of nowhere, she seems to like being famous an awful lot. She is stuck between wanting to stay exactly where she is, and returning to her roots and re-becoming Lizzy Grant. Listening to the B-sides and original recordings, we can see her trying to do exactly that, but when coupled with the flashy visuals like the title track’s music video, there’s a strange juxtaposition. Which side of her art is she willing to give up?
If Norman F’ing Rockwell was Lana Del Rey’s tribute to Americana, then Chemtrails Over the Country Club is where she has crossed over completely. Gone are the days of an insecure bar singer, and in her place is a woman who knows where she’s been, where she is, and where she wants to end up. All we have to do is get in the passenger seat and buckle up. For better or for worse, Lana has our attention.
by Nadia Alves
Nadia Alves has been a music enthusiast since she can remember. Going to shows is her main pastime. The other is being upset when she can’t go to shows. This is her first official venture into writing about music. You can follow her on Twitter.