Churchome Rep

I doubt she plans the rollout like that. My theory is that it was because she was so unconfident about COCC that she wouldn’t want to interfere with the reception leading up to it. For the most part, Lana lets her music speak for itself. She could’ve used the Pitchfork review but that article has less salience because it’s so inscrutable for an Instagram story.

The think piece is gonna include how Lana appropriated culture by going to an Afro-Caribbean two-step when you read the lyrics, it includes Joan Baez but if you’re thick-headed enough, you won’t catch it

She’s working on a longer form version of that article I suppose you can make that argument before COCC was released, there was cultural appropriation with like Florida Kilos or any trap-inspired music, but I can’t wait to read how she’s gonna reach with the songs on COCC.

Lana’s “best friend” is Chuck when all is said and done. And Chuck is much more socially conscious, so I hope Chuck levels things with her. On her Instagram Live for the chemtrails promo, she mentioned that she made a lot of “personal strides” in the past year. She never reveals a lot so I’m hoping that these strides aren’t like her poetry book but also some introspection. In a way, if Lana stays in her lane of “white girl sad music,” it will be ok.

What are some of her songs that take shot at the industry? High By The Beach, Brooklyn Baby, FMWUTTT... She doesn’t really drag anyone in those. They’re all generically targeted, so I don’t have any expectations for the lyrics to be explosive.

Kinda feels like she has a Billie Eilish / Finneas diss track coming Both tackle dark subjects but Billie didn’t get the heat she did

If people associate you with the neo-Nazis on Capitol Hill, you should speak up against it. Like when white supremacists embraced Taylor Swift and she was silent about it, it was concerning I think she saw that article when it first came out and saved it for when she (rather unexpectedly) got critical acclaim for COCC.

BROOKLYN BABY 2.0

Not that I think it will happen in LDR8, but I just had this intrusive fear that Lana would evolve to be the super-serious songwriter she skewers in NFR. I hope she doesn't have this pressure of pleasing the music critics because the way they would leave her earlier work in the dust...

besides nikki lane, who else are her country music friends ETA: Chemtrails over the Country Club with that cover already feels like an album title about a close circle of country music friends to me.

The reference to Tammy Wynette and George Jones fits the theme of “chemtrails under the country club” since they were well-known country artists (country club, maybe a play on words but unlikely). Tammy is most famously known for her song called “Stand By Your Man” and was a domestic abuse survivor who was also chronically ill. George got arrested out on the lawn and that was controversial in its time. I really like this song’s lyrics because Lana isn’t necessarily writing about herself. It’s bit more observant. It talks about the difficulties of untangling yourself from a toxic, abusive relationship, a complete 180 to those who think Lana “glamorizes abuse.”

Do y’all think she was nervous about what the critics said (about the music or not) or the reception to this kind of music? She talked about how she felt it wasn’t 100% to her ears tbh I agree nevertheless, she should take a well-deserved break!

George Jones. Longtime partner/collaborator of Tammy Wynette https://www.houstonpress.com/music/heres-that-george-jones-lawn-mower-story-one-more-time-6522381

The whole album is about the burden of fame, but this song is the only one that talks about her singing (in the street). This reminds me of the Rolling Stone interview she did with Elton John where she reminisced that there was a freedom starting out as a musician because it was fun, nobody really judged you. In her Lizzy Grant, early BTD days, she leaned into the whole image of a tragic, Lolita/Marilyn Monroe type figure. Critics thought it was a persona, and the backlash was intense, perhaps in a white hot way. But her fixation with these women is tied to how she thought it was thrilling to be the object of the male gaze. I read “look how I do this/ look how I got this” as a subversion of the fragile female trope because she turns it into a performance that she controls. Lana is older now. She probably looks back at these days wistfully, and maybe she still wishes she could tap into that although it’s no longer part of her current singer-songwriter “street cred.” Maybe that’s what QFTC was about, wishing she could reclaim a freedom of performance that was taken away from her. But this song was like done in one take, so this could be an over analysis or projection

Finally a comment section with some discourse. If you come into it thinking it’s gonna be like NFR, this review makes sense. He should give White Dress another try though

IMO, the second half is weaker because there’s not enough tempo variation. The first half is much more intense because it’s a bit unpredictable even as the lyrics are consistently autobiographical

She’s gonna fly her Sportcruiser?!

And to think that she wasn’t sure about the album, that she didn’t feel like she 100% achieved what she had in mind!

It will always bring me back down to Earth when the average pop culture person has canceled Lana and her music because of QFTC. I don’t exactly blame them but COCC has a timeless quality to it that isn’t even limited to her Americana angle

Will she do an Instagram Live next week?

Why is my Spotify flopping so hard? First the Yosemite/NAWWAL issue, now it just crashes randomly so I never get to the chorus of Wild at Heart

Chemtrails music video said:

When will Anthony Fantano give his rating. I’m bracing for it

the beach at night with a bonfire might be the quickest way

Lana used to figure skate as a child