Friday , July 30 2021

Lana Del Rey tackles a new area in ‘Chemtrails’ – Technique



We Received: 4 Stars

Since her self-titled debut in 2010, Lana Del Rey has produced seven studio albums, all exploring kitsch Americana. His latest book, “Chemtrails Over the Country Club”, published on 19 March, does not go away from these themes, but examines them from a new perspective.

Lana Del Rey has been featured in the media for her controversial mask choices and more recently more controversial political statements than her music. While it may be difficult to distinguish these actions from music so entrenched in an American – and more specifically, a very white American – point of view, this album is no doubt
full of hits.

On April 3, “Chemtrails” debuted at No. 1 on the Billboard Charts, topping Del Rey’s third list. Despite this success, Del Rey’s critically acclaimed 2019 “Norman Fucking Rockwell!” He could not keep up with his effort; As a glowing critique of Pitchfork rightly put it: “Lana Del Rey sings graceful freedom and transformation and the wreck of living in her elegant and complex fifth album. It marks him as one of America’s greatest living songwriters. ”

Yet, “Chemtrails Over the Country Club” opens up a new place in Lana’s narrative. He chooses to explore the basic themes of femininity, fame and the American dream (or its absence) in a much more gloomy tone than the glorified splendor of previous albums.

This album marks Lana’s departure from the coastal regions of previous albums as she enters the heart of America, the new geographic and emotional region for the singer.

“Tulsa Jesus Freak” is one of the most memorable tracks on the album and comes predominantly from the Central American culture. In the lyrics, religious images are common and speak of a stray God man. Del Rey highlights this moral juxtaposition that is evident in many American religious communities.

The title track “Chemtrails Over the Country Club” was the album’s first and only single, and it perfectly summed up the feel of the whole album.

Its production is “Norman Fucking Rockwell!” A completely classic Lana Del Rey song that reflects the I, the lyrics of this piece are visual in nature. American aesthetics such as turquoise jewelery, night TV and red sports cars paint a picture of the album in the listener’s mind.

“Dance Till We Die” wasn’t a single, but it should have been.

In almost three minutes of the song, the tone changes from the signature Lana voice to something much more interesting, a lot more ’70s sound and catchy. This voice is undoubtedly a tribute to the ’70s folk rock recordings of singer-songwriter Joni Mitchell and Fleetwood Mac’s Stevie Nicks – “I cover Joni and dance with Joan / Stevie” in Del Rey’s lyrics. on the phone.”

Lana then sang Mitchell’s 1970 song “For Free” in the last track of “Chemtrails”. Indie-folk singer-songwriter Zella Day and Weyes Blood join in providing depth that resonates with Del Rey’s whispering vocals. This rendition of “For Free” may not rival Mitchell’s original, but the piece thematically complements “Chemtrails” perfectly.

While almost all tracks are for the home, the opening song “White Dress” should be removed from the album or reworked. Delivered to an almost painfully high record, the choir is delayed and contains the words “Business Conference” that are strangely phrased many times.

Amid Lana Del Rey’s personal quarrels and accusations of problematic acts, she remains as faithful as she is in her views.

Despite looking flexible, it is clear that Lana is dealing with a new America and a new self.

He’s a truly great American artist, someone who can consistently reflect not only a particular spirit of this country, but also a deeply personal portrait.


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