Review: Lana Del Rey – Chemtrails Over the Country Club

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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.

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You can buy or stream Chemtrails Over the Country Club on Apple Music.

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.

4.5/5

by Nadia Alves

kiel_hauckNadia 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.

Review: Lana Del Rey – Norman Fucking Rockwell

Lana Del Rey is America’s queen. She’s an expert in mixing the modern with the retro. Her cinematic take on Americana remains fresh with each release and Norman F*****g Rockwell is no different. 

While initially very skeptical of Lana’s brand, these days, I call myself a die-hard fan. Born to Die came to me in a time where I was really desperate to branch out and I had started to really look at women in music and embracing artists like Marina Diamandis and Lorde. My background in music is very male oriented, and I listened to a lot of rock and indie bands – genres that, in the mid 2000s, were generally devoid of female talent. As I’ve gotten older, it’s become a personal goal that I openly support women in music. So I started listening to Lana Del Rey.

You can buy or stream Norman Fucking Rockwell on Apple Music.

My favorite thing about her music is how she seamlessly moves from genre to genre and era to era. She’ll have Jazz Age influences in one track and then in the next it’s like you’ve been transported to Woodstock. I’ve always had a thing for oldies, and the fact that she can pull it off so authentically has always intrigued me. With each album, I feel like we’re moving further in time, and with Norman F*****g Rockwell, we’re arrived in the late 70s, early 80s.

It opens with the title track, one of the softer, but no less hard hitting, songs on the album. Her goal with the album is to draw parallels, something she does through referencing pop culture. She said of the title in an interview with Vanity Fair that, “[She and Jack Antonoff, they] just joke  around constantly about all the random headlines [they] might see that week…but it’s not a cynical thing, really. To [her], it’s hopeful, to see everything as a little bit funnier.”

With that being said, the album isn’t necessarily lighthearted. I would argue that it’s her most personal album yet, from the line in “Mariner’s Apartment Complex” where she refers to an interview she did where the publication titled it, “I wish I was dead already.” To use such a statement as a way to get clicks isn’t fair, and the actual context of what she said has nothing to do with any of those sentiments. 

The album gets more personal about her career than any of the previous five albums before it, but it also pushes the envelope of that career more than the other albums as well. One of the singles, “Venice B***h”, is almost 10 minutes long, and is one of the best tracks on the album. I know I often say this about female artists, but she’s not afraid (and has never been afraid) to take control of her creativity. I feel like that’s because women have to work 50 times as hard to gain any artistic control at all, so the best way is to just keep all of your decisions close, and it’s something that, as unfortunate of a concept as it is, makes for the most authentic and raw music. She’s set the precedent of having complete control, which at the end of the day, gives her the most freedom.

This album is the culmination of everything she’s done up until now. From a little bit of the jazz influence seen in her first two albums, to the transparent lyricism from 2017’s Lust for Life, we have little pieces of each of her past releases showcased here. The closer, “Hope is a Dangerous Thing for a Woman Like Me to Have, but I Have It”, is the most poignant of all of her closers. She’s brought everything full circle. Throughout all the difficulties in her life and career she’s still always believed in her art and keeping her creative license. And that’s what makes Norman F*****g Rockwell explosive.

5/5

by Nadia Paiva

kiel_hauckNadia Paiva 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.