Del Rey sets out a very clear aesthetic of pearls, blue skies, and vintage cars and makeup. The music video, which I watched as soon as this track was released (11 th January, 2021), is a cinematic wonder. This song, the title track, is very gentle, unassuming, and then suddenly incredibly catchy. I have a feeling many people might relate to this track, making it last as one of the album’s more popular titles. Although the vocals themselves are not particularly powerful, there is something powerful about the feel of this track anyway. When I focus on the instrumental, I get goosebumps and the sense that this song tells a real story. I love this as an introduction, but I was concerned that this style might continue throughout the album leaving it feeling lacking. Unlike Del Rey’s usual style, the vocals remain very delicate all the way through. I already feel as though I have loved this song for years. The very first time I listened to it it managed to make me feel nostalgic, which was impressive. The album opener begins with a piano introduction and very gentle vocals. Written largely as an improvised work whilst in the studio with Antonoff, “White Dress” sets the mood of this album wonderfully. Del Rey describes this song as the “one of the saddest” of her career so far. I agree, the song is beautiful and haunting, and feels even more vulnerable than other work. “White Dress” already has its own music video, and seems to be an early fan-favourite. I will take you through them in order, and then reflect on the overall feel of the album. Right on time, Friday morning, my postman delivered my disc to my doorstep, and I was excited to hear what it had to offer. The two have been working together for many years, with Antonoff’s name splashed all over Norman F*cking Rockwell, from which he co-wrote some of the songs.Ĭhemtrails over the Country Club is comprised of eleven tracks, two of which have been released prior to the album release date. Most of the songs are produced by Jack Antonoff, which should not be a surprise. Everything about the imagery screams vintage and chic – so nothing unexpected there.
The official album cover is a black and white photograph of Del Rey and a group of her female friends sitting around a table in beautiful dresses with a gingham tablecloth. The title track single was released on the 11 th of January this year. Originally named ‘White Hot Forever’, Chemtrails Over t he Country Club was intended for release in September 2020, before being delayed. I am enjoying this slower phase, as it allows us to really feel the emotion behind the work, and examine her lyricism more closely as we listen. Old Del Rey work was focused on powerful choruses and defiant statements, whereas newer work is calmer and more slow-paced … but still packs the same punch. I feel that we are entering a new era of her creation, and I am thrilled to be able to witness it first-hand. I was firmly back on-side after last year’s release of NFR, and have been anticipating Chemtrails Over the Country Club keenly.Īfter enjoying Lana’s most recent album immensely, I also fell in love with the poetry collection Del Rey released last year. I loved Ultraviolence even more, but Del Rey lost me a little with Honeymoon and Lust For Life, although both had some incredible tracks, including “Art Deco” and “Cherry”. When I first heard Born To Die in 2012, I was immediately sold. I adored NFR, and was keen to see what would come next. We transitioned through passion and power on Ultraviolence light, delicate vocals on Honeymoon and Lust For Life, both of which had a similar energy and then onto more harmonious, emotive, poetic, slow tracks on Norman F*cking Rockwell. Since the success of Born t o Die, Del Rey’s sound has evolved. This follows Del Rey’s Norman F*cking Rockwell album, which was released in 2019. This new album takes us right back to the message of Born t o Die with lyrics about shying away from fame, living her own life, and not taking the media too seriously. Chemtrails Over t he Country Club is her seventh studio album. Before this, Del Rey had released one previous, self-titled album. With lyrically dark but musically upbeat tracks, Born To Die elevated Lana Del Rey firmly into the music scene. In 2012, Lana Del Rey told us “we were born to die”, and it was on her thusly named album that she found fame.
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