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Whether meant to be tongue-in-cheek, a joke, or not one at all, the title’s flawless alignment with the mood and mien of that moment-the conspiracy-mindedness, the radiant gloom, the fragility, and the suggestion of the type of person associated with the words “country club”-was an act of poetry. The original purpose of the BBC interview was to promote her newly released single titled “Chemtrails Over the Country Club,” and the album that shares its name. With time and refinement, Lana Del Rey had mushroomed into what we called the next best American songwriter-emphasis on American. Marilyn Monroe, men in training yards, cherry pies, a Pleasantville middle-class, Coachella, violence-as-romance and romance-as-violence: she offered us a canon of heritage markers recast in ’10s-era drama and became the rare sort of talent that was able to congeal past and present into seductively conceptual cinema. Geographies-the Hollywood sign, the tri-state, California writ large-became mythological playgrounds for her to languor around and smoke Parliaments on. It was Xanadu, built from a blissful, degenerate, high-femme sort of jingoism. In 2011, she emerged as an aesthetic howitzer, exploding a broad but deeply personal index of iconography into her own nation of death-driven kitsch. The first is that, for the past decade, Lana has been an exceptional hunter-gatherer of white American arcana. But Lana’s monologue about the neuroses plaguing the United States was genuinely fascinating-for two reasons. With rare exception, the strange tradition of having celebrities act like talking heads on matters of national politics or domestic terrorism is both a largely pointless and joyless spectacle. In or out of context, this is an entirely fair analysis.
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They want to wild out somewhere! It’s like, we don’t know how to find the ways to be wild in our world….and at the same time, the world is so wild.” “For people who stormed the Capitol, it’s dissociated rage. “I actually think this is the most important thing I’ll say in this interview,” she underscored. Partway through clarifying how she felt Trump’s “sociopathy” may have unintentionally inspired the deadly siege, she cleared her throat to show her conviction. Capitol that had taken place six days earlier. Finally, her frisson found a foothold in the psychology behind the insurrection at the U.S. On live radio, the pop star parkoured from thoughts on Trump’s presidency to going to the farmer’s market barefoot to how she’d characterize at least half of her friends as jerks. This album is another triumph for Lana Del Rey.On the morning of January 11th, as she ate a popsicle for breakfast with a newly broken arm, Lana Del Rey tumbled into nearly 40 somersaulting minutes of free-associative responses to questions from BBC Radio 1 presenter Annie Mac.
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Also of note is the drumming on the album which adds great and dramatic dynamics to many of the tracks. Her vocals remain notable with strong character and beauty and a particularly haunting tone not heard on the last record. This album is a perfect continuation from Del Rey’s last record offering a similar style but with a more stripped-down atmosphere production-wise. “For Free” closes out the album beautifully, the Joni Mitchell penned song fits like a glove with the rest of the tracks here and features vocal contributions from Zella Day and Weyes Blood. “Breaking Up Slowly” features an appearance by singer/songwriter Nikki Lane and lyrically references Tammy Wynette and George Jones rollercoaster relationship along with its country twang. “Dark But Just a Game” rhythmically recalls 2012s Born to Die while production-wise still maintaining the overall vibe of the album. It serves a purpose by just adding an element of darkness to an otherwise sunny recollection. It’s uncertain if the title is meant to spark serious thought in the listener who pays attention to the lyrics or just a tongue-in-cheek point of reference but it doesn’t matter. The title track and first single “Chemtrails Over the Country Club” mentions her siblings and friends in the lyrics and continues the Americana feel that permeates this album. It’s an incredibly effective opener that sets the tone for most of the album. Musically it’s a beautiful piano-led track with Del Rey’s vulnerable-sounding vocals taking centre stage and shimmering lounge drums that rise and fall to great dramatic effect. The album opens with the “White Dress” which continues Del Rey’s style of autobiographical storytelling lyrics and tells the story of the singer pre-fame at 19, working as a waitress, getting her start in a male-dominated music business, and also references listening to White Stripes and Kings of Leon.
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