EndlessSummer

you know nobody can stand u in this forum right? ♥️ 

I don’t think I’ve read a single review in my 10 years of stanning Lana that didn’t mention the way she looks, that didn’t somehow weave into it her misunderstood comments taken out of context that have absolutely nothing to do with the music, or judge her in the light of other artists before her time OR her contemporaries, (who they would force comparisons upon). It is indeed dark, but just a game. You just gotta see through it. A positive review is always welcome, but don’t make it more than what it is. The music always speaks for itself in the end, and the true genius behind it always continues to do what she does best: keep on keeping on. Just a reminder. 

Doing God's work 
 
The comments on the review are getting better and better
 
 
 
And Twitter stans are raging 

That’d bring it up to an 83 if it’s weighted average, and 84 if it counts for more (which I think it does) 

rolling stone better come through with 100 after praising the collabs. 

Depends on the weight Sputnik has on Metacritic, there's a bunch of critics that haven't been uploaded tho so let's see

https://www.theguardian.com/music/2021/mar/20/lana-del-rey-chemtrails-over-the-country-club-review
guardian did another review of chemtrails 80/100

How much weight will their review have on metacritic?

Didn't they do the same with NFR?

Telegraph review 5/5
 
 A simmering, sinister undercurrent flows through Lana Del Rey’s most sensuous album to date. Chemtrails Over the Country Club is another gorgeously enigmatic showpiece from a singer-songwriter who revels in private ambiguities in the dazzling glare of audacious songcraft.
The tartly turned title song offers a blaze of harmonic heat, conjuring images of carefree days in a setting of pampered luxury that verges on soft-focus lifestyle porn. Yet even as she lies around the private member’s swimming pool with her equally pampered friends, Del Rey wants us to know she has one eye on the poisonous pollution cutting through the perfect blue skies. It is a perfect metaphor for a career constructed on the principle that she will have her cake and eat it, even if it sticks in her throat.
Ever since struggling pop wannabe Lizzie Grant artfully re-branded herself with media-savvy panache as Lana Del Rey in 2011, she has maintained a quality of artistic mysteriousness almost unheard of in the social media age. The blend between image and music is so tightly fashioned, Del Rey can appear as vacuously stylized as an Instagram filter. The fascinating question that looms with each new offering is to what extent Del Rey is satirising a contemporary fixation with style over substance, or merely indulging it. It is a question her ninth album takes considerable pleasure in evading.
The opening track, White Dress, is sumptuous, free-flowing tumble of double bass, piano and feather-light jazz drums that hints at the liberation of Van Morrison’s Astral Weeks. Her voice whispery and yet exultant, rising to a soulful falsetto, Del Rey summons memories of being a waitress at the Miami Business Music Conference, aged 19, recalling the sense of openness and joy as her whole life promised to open up before her. But the note of melancholy that is never far from the surface of Del Rey’s oeuvre is sounded in the sombre closing notes, as she wonders if “Maybe I was better off.”
That is the theme all these songs circle around, as the pop star repeatedly questions the price of fame, dreams of escape from the big city pressures, or turns her mind to childhood memories and rural idylls. “No roses left on the vine / Don’t even want what’s mine / Much less the fame” she mournfully croons on Dark But Not A Game. There are repeated references to candles in the wind, pop culture shorthand (via Elton John and Bernie Taupin) for the fates that befell Marilyn Monroe and Princess Diana.
The camera had flashes / They caused the car crashes” she notes on lush album highlight Wild At Heart (another borrowed reference to doomed romance, from David Lynch via Barry Gifford), before adding “But I’m not a star.” Once again, Del Rey is looking nostalgically back to a time when all she wanted was the very thing she now fears is killing her. “If they love me, they’ll love me cause I’m wild at heart,” she croons, narcissistically self-mythologising her own doomed star girl persona.
It is hard to measure to what extent the ambiguous depths of Del Rey’s music arise from artistic insight and arch self-awareness or are built up through layers and layers of woolly thinking and self-contradiction. But does that even matter, when her melodic flair is so assured (there are passages in Beatle-esque genius in Dark But Not A Game) and moody arrangements so richly detailed?
Chemtrails Over the Country Club is an album on which Del Rey drifts even further from the pop mainstream, entirely jettisoning shiny beats and electronic hooks along the way. Yet the production by Jack Antonoff is stunning, with a huge amount happening beneath the surface of what first manifests as a scratchily intimate acoustic-flavoured unplugged band. There is not a weak song or throwaway performance here, amidst many that only reveal their secrets on repeated listening.
Dance Til We Die finds Del Rey trying to reconcile feelings of being “burdened by the weight of fame” with an escapist joy in music itself. Yet for anyone dazzled by the lifestyle she plainly revels in, cosy first name references to such role models as Joni Mitchell, Joan Baez and Stevie Nicks may come across as so much name dropping.
Del Rey ties up loose ends with a lusciously rearranged and harmonised Joni Mitchell cover, For Free, a song that examines the price of fame with a forensic clarity that only serves to emphasise the vagueness inherent in Del Rey’s own lyrics. “Me I play for fortunes and those velvet curtain calls,” sings Del Rey, enviously watching a busker (who could be an incarnation of young Del Rey herself) playing for sheer joy. Be careful what you wish for may be an overused trope, yet it has never sounded quite so seductive.
 
 

https://www.theguardian.com/music/2021/mar/20/lana-del-rey-chemtrails-over-the-country-club-review
guardian did another review of chemtrails 80/100

https://www.theguardian.com/music/2021/mar/20/lana-del-rey-chemtrails-over-the-country-club-review
guardian did another review of chemtrails 80/100

I think she will get between 70-90k overall sales

https://www.theguardian.com/music/2021/mar/20/lana-del-rey-chemtrails-over-the-country-club-review
guardian did another review of chemtrails 80/100

"In the middle is perhaps this great album’s greatest segment. A minor-key folk song that doesn’t bother trying to be anything but, Yosemite dates back to sessions for Del Rey’s 2017 album, Lust for Life, but embodies this album’s concern with craft. “We did it for fun, we did it for free,” she sings of her work, in one of Del Rey’s best vocals to date."

https://www.theguardian.com/music/2021/mar/20/lana-del-rey-chemtrails-over-the-country-club-review
guardian did another review of chemtrails 80/100

https://www.theguardian.com/music/2021/mar/20/lana-del-rey-chemtrails-over-the-country-club-review
guardian did another review of chemtrails 80/100

We lost 

https://www.theguardian.com/music/2021/mar/20/lana-del-rey-chemtrails-over-the-country-club-review
guardian did another review of chemtrails 80/100

https://www.theguardian.com/music/2021/mar/20/lana-del-rey-chemtrails-over-the-country-club-review
guardian did another review of chemtrails 80/100

https://www.theguardian.com/music/2021/mar/20/lana-del-rey-chemtrails-over-the-country-club-review
guardian did another review of chemtrails 80/100

Alexis OUT 

https://www.theguardian.com/music/2021/mar/20/lana-del-rey-chemtrails-over-the-country-club-review
guardian did another review of chemtrails 80/100

https://www.theguardian.com/music/2021/mar/20/lana-del-rey-chemtrails-over-the-country-club-review
guardian did another review of chemtrails 80/100

https://www.theguardian.com/music/2021/mar/20/lana-del-rey-chemtrails-over-the-country-club-review
guardian did another review of chemtrails 80/100