![]() ![]() Its orchestrations are much smaller in scale than “Rockwell,” and the attention shifts east of California scenic ques that you’ll find on an “underrated spots” TikTok and into a spacious, rural setting, straying from the self-centered public eye. Her previous album “Norman Fucking Rockwell!” was one of 2019’s best and her finest yet, and “Chemtrails Over the Country Club,” released March 19, finds her in similar inspirational territory but based on a surprisingly new environment. She manages to land in some kind of public controversy on a regular basis, the most recent being an ill-timed Instagram post admiring the romance of Prince Phillip and Queen Elizabeth, but Del Rey has matured – musically at least. Lana Del Rey has grown tremendously as a singer and songwriter while staying firmly planted in her nostalgia-soaked Americana interests. Lana Del Rey – “Chemtrails Over the Country Club” Trauma and passion unify them and also highlight the aggressive, personal strengths in their verses.Īs finals season rears its ugly head, try spinning these albums to pass the time when you’re fed up with reading virtual textbooks and perusing Quizlet: Her songs have always had a soft tinge of intimacy and play out like a fantasy that isn’t always happy or sad but consistently captivating.īrockhampton is a group of born rock stars whose powerful sound packs a sensitive punch that traces back to the members’ respective childhoods. Lana Del Rey is a fixture in the gentle, minimal side of music. Lana Del Rey and Brockhampton are positioned at each side of this spectrum. Each listener has their respective preferences, and each is just as powerful and sublime as the other. On the other end, abrasive, blaring music can enter at the forefront of your brain and attack your thoughts directly. The haunting subtlety of softer music inserts itself into your deepest memories and is often more nostalgic. These ranges embody different harmonic qualities but are equally evocative. Like yin and yang, the healing power of loud and quiet music represents duality and a comparative push-pull relationship. My boyfriends have been rappers.There are two contrasting varieties of sound in music, and many far in between. And in a since deleted caption, from her unveiling of the cover of Chemtrails Over the Country Club, Del Rey defended her inclusivity by saying that “her best friends are rappers. In an interview with BBC Radio 1 she implied that Trump was not to blame for the storming of the capitol. Twitter exploded when she wore what appeared to be a mesh and utterly ineffective face mask to a book signing last fall. Last May, Del Rey posed a “question for culture” on her Instagram where she complained that many of her women of color counterparts in the industry were not criticized for glorifying abuse or sexuality in the same way that she has been. In the last year she’s found herself in hot water a handful of times. But she also has a penchant for controversy and biting back at critics. Online, Del Rey is far less old Hollywood vixen, and much more your mom on facebook, often posting filtered selfies and captions that invoke the same corny energy as “Live Laugh Love.” Scrolling through her Twitter feed or Instagram is reminiscent of an early 2000s Tumblr page. ![]() The very next track, “Let Me Love You Like A Woman,” reminds us that she’s, “Ready to leave LA.” And on “Wild at Heart” she finally plays out her fantasy, “I left Calabasas, escaped all the ashes.” On “Tulsa Jesus Freak” she even dreams of leaving Los Angeles for Arkansas. She lusts after the simple pleasures of “Listening to the White Stripes when they were white-hot” and “just listening to Kings of Leon to the beat,” back when she wasn’t famous. On the album’s opening track, “White Dress” she fantasizes about being a bright eyed nineteen year old waitress in Orlando. Our patron saint of nostalgia, Del Rey finds herself, as she has before, and as we all are now, longing for the good old days, real or imagined. ![]() Here her gift for romanticizing the mundane and glamorizing the traumatic shines in what might be her most intimate and precocious collection of songs yet, which explore Del Rey’s ever-more-complicated relationship with fame. She’s an expert in playing this beautiful game of very sad MadLibs, and a decade into her career even Bruce Springsteen is calling her “ simply one of the best songwriters in the country, as we speak.” Enter her seventh studio album, produced by close collaborator, Jack Antonoff, Chemtrails Over the Country Club. You could say Lana del Rey is getting better at singing about old men, old money, and old-timey things- but she’s just never been bad at it. ![]()
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