Nostalgia for it ebbs and flows as Del Rey’s vocals crack and strain, but any regret is short-lived. On opener “White Dress”, she reflects on “a simpler time” when she was “only 19… Listening to White Stripes/When they were white hot/Listening to rock all day long.” It’s a time, more specifically, before she was famous.
Here, Del Rey’s panoramic examination of America is replaced with something altogether more personal. And yet, amid a year of isolation, it was perhaps logical that one of this generation’s best songwriters would look inward. As for where this album takes her? Somewhat unexpectedly towards country and folk inspired by the Midwest, rather than Del Rey’s beloved California on “Tulsa Jesus Freak”, Del Rey pines after Arkansas.Ĭhemtrails Over the Country Club makes no reference to the global pandemic in which it was partly created and released. Chemtrails, however, is the first time she’s brought so much of her past into that process. Del Rey’s MO has always been to tweak and refine-rather than reinvent-her sound, bringing her ever closer to where she wants to be. Then there are the tracks that could easily have appeared on previous albums (“Tulsa Jesus Freak” wouldn’t be out of place on 2014’s dark-edged Ultraviolence) and lyrics we’ve heard before (“Dance Till We Die”, for example, references “Off to the Races” from her debut album Born to Die, while “Yosemite” calls back to the “candle in the wind” of NFR!'s “Mariners Apartment Complex”). Chemtrails is scattered with references to its predecessors, from the “Venice Bitch”-reminiscent outro of the title track to “Not All Who Wander Are Lost”, which might be seen as a companion piece to 2012 single “Ride”. Returning to ”Yosemite” hints at something else, too: an artist looking back to make her next step forward. “Wild at Heart”, “Not All Who Wander Are Lost” and “Yosemite”, for example, all brim with (self-)acceptance. Total serenity might not have been achieved just yet, but across these 11 tracks, Del Rey, along with returning producer Jack Antonoff, finds something close to peace of mind, reflected in a softer, more intimate and pared-back sound. Its appearance is a neat summation of where you can expect to find the singer here. “Yosemite” was originally written for 2017’s Lust for Life, but, in an interview with Apple Music’s Zane Lowe that year, Del Rey revealed the song was “too happy” to make the cut. Respect it.There’s a track on Chemtrails Over the Country Club-Lana Del Rey’s sixth full-length album and the follow-up to 2019’s Norman F*****g Rockwell!-that should have been heard earlier. My dearest friends have been from all over the place, so before you make comments again about a WOC/POC issue, I’m not the one storming the capital, I’m literally changing the world by putting my life and thoughts and love out there on the table 24 seven. My best friends are rappers my boyfriends have been rappers. In 11 years working I have always been extremely inclusive without even trying to. She continued, “We are all a beautiful mix of everything- some more than others which is visible and celebrated in everything I do. And damn! As it happens when it comes to my amazing friends and this cover yes there are people of colour on this records picture and that’s all I’ll say about that.”ĭel Rey then named a few of her friends that appear with her and will also feature in a music video.
“I also want to say that with everything going on this year! And no this was not intended-these are my best friends, since you are asking today. A post shared by Lana Del Rey was unclear if Del Rey was responding to a particular comment but the singer addressed the lack of diversity on the cover after many people expressed their displeasure.
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