Written by Tom Bedding
Lana Del Ray has been one of the most spoken about and famous artists of the last ten years or so, with being hotly discussed by many in regards to her authenticity and songwriting. Now it has to be said, despite early hits like ‘Video Games’, we did not see this artist really show off her potential until 2019 with the acclaimed LP, ‘Norman Fucking Rockwell’, with it actually showing off the ideas and aesthetics of the singer being utilised fully for the first time. Now two years after that incredible release, we now find Lana singing in more of a reflective tone and bringing what made ’NFR’ so good to a more more gentle and somber affair.
Del Ray sets the tone of reflection straight away on the opener ‘White Dress’, taking us back to when she was a waitress, with the white dress representing how pure and simple life was before she became the artist, she is today. It is a wonderful opening song for the record, which includes some subtle piano playing and the artists vocals taking centre stage.
From the word go, you feel Lana deeply questioning her decisions that made her so successful and wondering if loosing the control she had over a life, even if she was still doing those night shifts, was truly worth it. ‘White Dress’ has an impressive melody and includes these spellbinding, whispering vocals that creates the albums introspective feel to it, brilliantly.
The title track, is a standout song by the artist and set the standard for this new release, to a high bar. ‘Chemtrails Over the Country Club’ has a simple and mellow piano part, including a nicely plucked acoustic guitar and rusty but soft sounding drum playing, deep within the mix. Its melody is utterly beautiful, with its hook played to great affect that showcases how Lana Del Ray, has truly fulfilled her songwriting and artistry potential.
The lyrics flow so pleasantly throughout, with the chorus sounding so gentle with ‘Im on the run with you my sweet love, There’s nothing wrong contemplating God, Under the chemtrails over the country club’.
The gentle hip-hop inspired song, ‘Tulsa Jesus Freak’, produced fantastically by collaborator Jack Antonoff, sees an auto-tuned Lana blending the passion of religion and sex together. Over the sensual beat, the singer is talking about her sheer passion of her lover, even if he is too drunk to have sex, in such a desirable and religious way that their ‘white flame’ love will burn forever, just like Jesus. Its production is sublime, done in such a beautifully tense way that makes you feel this seducing performance, in such an intimate way.
The lead single off the record, felt like too much of a continuation of her previous release, ‘Norman Fucking Rockwell’, which can leave you ignoring how decent the single actually is. ‘Let Me Love You Like a Woman’ has some nice piano playing and dramatic vocals, it is a typical performance by Lana but it is to a level that we have only heard in the last few years by her. The chorus is not overused, with the verses keeping you interested and also the production not simply acting as a ‘filter’, it actually enhances this song with its subtle use of guitar and percussion.
When ‘Wild At Heart’ hits the chorus, just wow…….this simple but effective chorus is a definite highlight on ‘Chemtrails Over The Country Club’, it holds such an outstanding and American classic presence to it. Here we have Lana Del Ray singing to her lover about if she stopped singing, questioning how would she tell her stories if she stopped. Would it be with her lover or to random men at bars? It is really interesting to hear that the famous artist wants to get out of shackles of her ‘job’, simply wishing for a time where she can be her true self for the lover the story.
‘Dark But Just A Game’ has a beat centric vibe again, with Lana wanting to tell the listener honestly, how she will not change not matter what, even if that means fame disappears from her life. Here we have the signer telling us how the game of her profession is dark, reinforcing how she will not play the game to put onto a disguise to fit in and please the wider public.
The construction of the song is also fascinating, as previously mentioned it is slightly beat focused but the tease of a variety of instrumentations, like the Antonoff sounding piano part and string part, leaves this song feel like that is not set in stone in what it wants to be.
One of Tolkien’s famous lines from Lord of Rings, ’Not All Who Who Wonder Are Lost’, is the name of the following song. It sets the scene for the message that Lana Del Ray is sending out about her presence in the limelight and her hunger for truth from life.
Since day one, the media and some music fans have been at Del Ray’s throat about so many things and recently, it has reached to new heights. It seems like she is gently responding to those who question what she is trying to achieve and it not coming via by following what people want her to say and do. The woman wants wants to feel free from those restraints and wants to be a pure artist and human, symbolising herself as not lost but an adventure during the song. Sadly the instrumentation and melody does not match the lyrical tone but this song is still a significant listen on the album.
‘Yosemite’ tackles how Lana wants the relationship she has, to be about the connection between the two people involved, doing things as they are fun and for the right reasons. The reflection on previous love interests, who went along for selfish reasons is deep within the songs sentiment, you can hear Lana’s quizzical tone on how she yearns for wanting a healthier connection. ‘Yosemite’ has a solid chorus and the gentle guitars create a lovely atmosphere, however I wish the interesting percussion choices we hear every now and then, had more of a presence.
Nikki Lane co-wrote, ‘Breaking Up Slowly’, with Lana Del Ray which allows ‘Chemtrails..’, to have a much needed flavour in the later stages of its running time. Its main chorus is strong and the slow paced but seductive verses, really creates an ambiance that is lush sounding. Obviously, the two singers combine really well and the pair together is the standout part of this solid track.
Next, Del Ray plays homage to the likes of Stevie Nicks, Joni Mitchell and more on ‘Dance Till We Die’. It does seem to over indulge with the classic ingredients that has made up a lot of the artists previous work, for instance the whispering call and response in the opening third of the song. However the song becomes slightly quirky laster on, with the tempo shift and the inclusion of the horns and slick electric guitar.
To finish off the album, ‘For Free’ features Zella Day, Weyes Blood and also the beautiful piano playing we heard earlier on the album. You have to admit though, that this song and other moments past the halfway mark do not match the standards, we hard during the opening moments of ‘Chemtrails’, however it still impresses to a decent standard, that many aspire to reach.
This last song on the LP, is brought together well with its peaceful instrumentation and the features involve, however Im left knowing what can be achieved by the artist and want that as much possible! It can leave you frustrated but the artistry, lyrical content and production shines to amazing heights, leaving ‘Chemtrails Over The Country Club’ to be one of Lana Del Ray’s finest work.
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