In her sixth major-label album, “Chemtrails over the Country Club”, Lana Del Rey wants to get away from it all.
After his great, California-centric 2019 epic “Norman _____ Rockwell !,” he might just be craving to change the scenery: “I’m ready to leave LA and I want you to come,” he says of the new album. Announces first solo performance. , “I Love You Like a Woman.” The name of the other “Chemtrails” -check goes on a road trip to the Midwest, from Yosemite to Lincoln to Tulsa. But in some of the record’s most stirring moments, Del Rey wishes for a more spiritual sense of oblivion: “I’m in the air, I’m in the water, someone’s son, not someone’s daughter,” she sings on the haunting title. The track sounds blissfully immoral. During the album’s opening number, “White dress,” She pirates at the top edge of her vocal register, her airy falsito evaporating into space like a fleeting, soon-to-be illegal piece of sky writing.
One of the album’s many stunners, “White Dress” is a melancholic, piano-driven vocal poem that combines the emotional intensity of Cat Power and reproduces a “simpler time” when the narrator is a 19-year-old knight- Shift was in waitress. – Norman Rockwells in all locations of America – Orlando, Fla. But she felt happy, capable: “When I was a waitress, wearing a white dress, like how I do it, look at how I got it.” Tempo is unhealthy, and the song delivers some of its most affecting revelations – “It makes me feel like I was probably better” – for its raunchy final moments.
In a moment he emerged with a semi-arrogant torch song “Video game” In 2011, Del Rey always branded himself as an old soul. Like her music, “Chemtrails” often tilts backwards to overcome an elusive and irresponsible foregoing state. (As she wrote in one of her best songs, the unofficial anthem of 2019, “The Greatest”, “Nobody warns you before you fall.”) Sometimes the past she glorifies is collective. -Cultural (silent, subtly auto-tune) is Tulsa Jesus. Freak is similar to “Mines-Family Aesthetic as Quentin Tarantino’s” Once Upon a Time … in Hollywood “), but on this record it is often sharper in person, longing for a lost time when the music is a careless one. The hobby was and Dale’s not Ray’s job. Throughout, “Chemtrails” makes him pay attention to the value of his art, wondering if it was too late to get back into the garden.
Fame is a recurring boogeyman from the album, which is clearly on the guitar-driven “Dark but Just a Game”, which Del Rey has said her name is something she took from her producer Jack Antonoff, while they very much like her Many stars were telling about the tragic fate. “” Chemtrills “reunites Del Rey with Antonoff, who co-produced” Norman “with him and once again gives him the bilving voice in the appropriate composition elbow room.)” The cameras glow, they Causes Car Accidents, “She Sings. Slowly” Wild at Heart “- Another Charm. On two other occasions she references” Candle in the Wind “, in which Alitan John plays both Marilyn Monroe and Princess Diana. Hard work needs to be done to fit K’s fate.
It can be easy to forget, however, that the special slab of blue on the country club is hardly full sky. This finite perspective makes “chemtrails” as a minor offering compared to “Norman _____ Rockwell !,” with big swings and often associated, capturing something that their generation of unhealthiness has brought about. It was difficult to clarify the generation. Perhaps to avoid repeating himself, “Chemtrills” del Ray finds the scaling back, and seeks more insular insights.
When all its virtues are working together – rich melodies, composition surprises, mere-lana-kahna-kahna it turns into a phrase – Del Rey’s music gives an enchantment. But at moments when its tempo and timebreath grow as slightly repetitive, as they did on their sleepy 2015 album “Honeymoon,” and for the many-song vibe in the middle of the album, its limitations are noticeable. She comes. “Not All Who Wander Are Lost” builds a chorus around bumper-sticker wisdom, while obscure lyrics like “I love you like a woman, let me hold you like a baby” are typical of her better songs Lacks.
At its best, Del Rey’s hyper-referential music assures the special feeling of confronting art in a postmodern era, when the past is so tickled by meaningful cultural artifacts that everything is reminiscent of the new, at least To be less old. But as she dances on that fine line between prodding and signing, Del Rey sometimes risks her mastery with more clarity on what previously was done by other artists.
It’s a gamble to end an album with a Joni Mitchell cover – though here’s a risk Del Rey is off. On the lavish, reverential and harmony rendition of “Free,” he is joined by musicians Zella Day and Natalie Mering (who records as Weis Blood), and Mitchell’s lines answer several questions about which I am considering Distortions of relative value and fame of art. The song comes from Mitchell’s 1970 LP “Ladies of the Canyon”, but if there is a compassionate sentiment in Mitchell’s discography of “Chemtrills”, it is her own “Leaving Los Angeles” album from 1972’s “For Roses” album. , Which Michelle created in solitude. Her stone hut on the Sunshine Coast of British Columbia.
By the end of “Chemtrails”, Del Rey has found solitude, not solitude but solitude, especially with other women. The album rejoins the final trio of her songs, abruptly populated by other female voices and names. (In addition to Day and Mering on “Free Free”, Del Rey is a song written by country artist Nikki Lane on Lane, “Breaking Up Slowly.”) The cathartic “Dancing Till We Die” is late to her. Night Louisiana steps two with a fictional nod to its musical heroes, some of whom (Stevie Nicks, Joan Baez) have already toured or collaborated with Del Rey. “God, it feels good not to be alone,” she quips, shortly before she faints, the lonely sound in a horn drifting into the mix, as if from another strip down the road. Momentarily, it leaves its mark in blue, and then it is done as quickly as possible.
Lana Del Rey
“Chemistry at Country Club”