barttttender

38 minutes ago, triangles19 said:

Honestly I'm wildly excited by this but I don't really dare to believe this will be out June 1, I mean, she learned us to not believe her dates reveals.

It would be so great, let's see.

Tbh it will be very hard for me to appreciate the new album as much as I love Cocc, it took the first place of my album ranking so violently, I listen to it everytime, songs are stuck in my head all day and I absolutely can't rank the songs cause I just adore them all. My new Honeymoon finally came and I'm so living for it. I'm in heaven right now

she will never release a new album on july 1 mark my words.

she's taking the piss and will delay it countless times like she did with nfr ang chem.

Basically, she just got the idea to make a rock record with dealer on it and probably hasnt even found a producer.

I mean she just said to annie mac that she's exhausted all her supplies and it's the first time she doesn't know what she'll be doing next 

like slate clean. So what is she on about?

17 hours ago, Chorli Xbox said:

Well I respectfully disagree. My friends that listen to Lana, my friends I force to listen to Lana (lol) also had the same vibe with NFR. Don’t get me wrong, the album is amazing, but listening to BTD, UV, HM, LFL first and then listening to NFR, it feels a lot more raw, simple, minimalistic and intimate. Which is why I loved NFR, but I don’t like COCC right now probably... I probably expected a lot more complex production, vocal layers with reverb etc indeed.

 

I quote from a review from Pitchfork " But here, with delicacy and grace, he and Lana find new wings in minimalism, fresh air to breathe, a structural relief."

 

And from The Edge "It's Lana Del Rey's best album yet - through its somber, minimalist production"

you called it a simplistic record. It ain't. Period

7 hours ago, gasstationkween said:

The other woman isn’t on honeymoon, are you trolling 

Dont let me be misunderstood? I hate them both actually and never listen to them / hence the confusion lol

Hi guys,

Happy album coming out day!

I was wondering which album do you prefer?

I chose Honeymoon for the comparison because it's the slowest and sits alongside Chemtrails as one of Lana's most languid/meditative records,

So which album is your favourite?

My answer: while I always appreciate an upbeat Lana track like High by the Beach, I'm going with Chemtrails. It's a shorter, more cohesive, and a more consistently good record.

Honeymoon's lows are really, really low (Freak, The Other Woman), while Chemtrails' lowest points are still listenable at least (For Free, Breaking up Slowly) as background music.

More importantly, nothing on HM blew my mind like White Dress did  except maybe The Blackest Day - but that song didn't have much staying power.

Don't get me wrong - I still love Honeymoon.

But Chemtrails - 7.5 (one big hit/upbeat song would have really made this come together more and land at 8.5, to join White Dress and Wild at Heart as the holy trinity) 

Honeymoon - 7 (without Freak and The Other Woman and a shorter running time, this would have been so much better)

Let me know your thoughts 

p.s this was supposed to be a new thread but ended up here ??‍♂️ 

2 minutes ago, Chorli Xbox said:

Lmao I'm not. It's clear I was talking mostly about production compared to her previous work and simplistic/minimalistic production is not even a bad thing, so why are you even putting it like that? I'm not saying the albums were lazy or not well done? It's very obvious that both NFR (as a whole album) and COCC have a more minimalistic approach in terms of production than the hundreds of layers of instruments Ultraviolence,  Honeymoon, Lust For Life etc has. (Excluding Venice Bitch)

I disagree. Firstly, NFR and Chemtrails have completely different production, the latter being more simplistic (although minimalist is what I would use personally).

With strings on NFR, like 300 guitars on VB, surf drums on FILY, jingle bells on Disappear, etc - there's so much going on on NFR production wise. It just isn't 'simplistic'.

If anything, most of Ultraviolence features a standard rock band type of production - a few guitars, bass, drums and a singer, drenched in reverb. 

6 minutes ago, nowyoudo said:

Such a pretty album, it's prettiness goes along with Honeymoon and NFR. I am very pleased with the full album. Thank You and Congrats Lana!

Glad you love it.  I rank it second right now i think. i do love ultraviolence, but the bonus tracks are some of her worst songs ever, and i detest the other woman. the rare lana song i can't listen to past the 10 second mark

1 hour ago, Lemonade Tea said:

down atthemeninmusic BUSiness conference

Literally my fav moment on the record lol

5 minutes ago, Chorli Xbox said:

Jeez, no need to act like that. The production is definitely minimalistic and simplistic compared to her other albums imo? Not saying there is something wrong with that, just elaborating that is why it might not click for me but ok

there's nothing simplistic about tracks like The Greatest or Venice Bitch, and especially not a 1 hour long record that touches upon so many themes and production styles. 

 You're using the word incorrectly, and devaluating the artists' contribution - simply because it doesn't work for you. Let me know which part of this statement is untrue?

45 minutes ago, Doll Harlow said:

 

when the video for Bartender exists?

Hey! Go easy on Bart-t-tender:)

23 minutes ago, Chorli Xbox said:

I'm so sad that this album doesn't click for me... It's just boring and plain to me. I loved all of Lana's albums, NFR was great but felt simplistic to me (but still her best, don’t get me wrong), and I was already afraid she would make the production etc more simplistic.

 

Idk, maybe I'm just more a production whore than I thought I was. I really loved the cinematic theme of Honeymoon, trap inspired L4L, psychedelic rock Ultraviolence, dark and modern BTD+Paradise and raw yet simplistic NFR. This album feels like a more empty version of NFR to me

you should really google the word 'simplistic' before sticking it everywhere. peace 

53 minutes ago, Lentilus said:

So Madonna really acknowledges Lana!!

NEWS. Where?

13 minutes ago, BBMgirl said:

whew, this has been the only Lana record which im genuinely conflicted in; 

 

one one hand, i adore the lyrics and constant growth it reflected, along with the unexpected vocals and production shifts, keeping each song as a constant surprise to the listener and of course the toned down, raw n folky sound all throughout the project

but on the other hand, i cant ignore some things that blatantly ruin the experience for me: I generally hate shorter albums, so when this project ended, unlike her previous records, i was left wanting soooo much more, like atleast 3 more tracks (and the shorter track lengths didn't help in that regard oop). Also, I had this feeling of "is this it?" towards the end of the album. I wanted something more experimental here and there, just a bit, something more unique/ different to Nfr, as Lana re-invents herself so much with each era and stuff.

 

I know my expectations were maybe too high, but as an NFR stan, i was sad to see a lottttt of stripped folk ballads and just a couple hidden gems (in terms of production). its a crime that there weren't more songs like DBJAG or TJF, or a more folk rock type of song (even dealer would've been so unique and different ughh). that'd add so much sauce into an already sauced up project ^^ I really dont blame jack for the production (unlike some of yall dumbos), as the sound of the album was obvi Lana's choice, but yeah.. idk.

the entire project feels like NFR's younger sister, less polished but still following the footstep's of a great, great thing.

 

overall, i appreciated most tracks, with BUS and DTWD being growers and LMLYLAW being the only "eh" song

I must admit that in my 1st listen, I was so so furious and underwhelmed with the album, but i knew deep down that lana's music slowly grows on you, and once she does, she goes hard, and i was 10000% right, hehe.

 

My top 3 on COCC are:

1) TITLE TRACK

2) YOSEMITE

3) WAH

(i'm such a sucker for rick nowels production, oh my, so yosemite was a definite standout for me. cossing my fingers that she works with him in the next album!!)

so strange how people have completely different opinions.

for me, it's her sweetest and most cohesive record.

like if dorothy gale made an album at 35 travelling the mid west.

and yes, it's very languid and summertime sadness fans will be like wtf. But the whole point of the record is lana making the kind of music she wants to make and thinks is good and escaping the constrains of the music industry and the public,

I play it in the car and just enjoy the ride. Go to a diner, chill out. It's just a meditative Americana record about finding oneself. It's simple (one-note some would say), but that's its charm

you can always go to other records, not every one will be for you it's fine

3 hours ago, Enchanted Mansion said:

 

It's an album that is difficult to access when you know the girl's background.

 

I'll try to listen to it again tonight with a more relaxed vibe in my bed, hope I like it

 

In any case I hope that she will fire this Jack for her next album and will reconnect with Rick N., Emile H, Dan H. and Dan A all these beautiful people who know what she is worth. This girl needs heavy tortured instrumentals to bring out her voice.

Please no more Reverb Rick.

13 minutes ago, BlueJeans said:

Yeaaah the song is beautiful but the video doesn't do it for me. Beautiful colors and setting and I loved the idea of Lana skating. Then it looks obvious that it's a stunt double (fair enough, but I want more Lanz, is all). I miss the days when you knew that a LDR music video would be a visual experience. And I'm not gonna lie: Chemtrails was a great return to form. But anyway, this doesn't take away anything from the gorgeous song. I just don't think I'll watch its music video very often...

yeh the video is meh. It will get like 3 million views. Gone are the days of BTD and UV videography. But it dont matter cuz the song is GOLD.

3 hours ago, Deadly Cruel Girl said:

 

Yeah it's pretty awful. I agree it might be the worst of her entire catalogue. The only part I like is the modeling skating beautifully in the highway. but oh well, I didn't expect much.

 

no let me love you was way worse. Shot in her car and edited on imovie in an hour

1 hour ago, COCC said:

Calling it a small, pretty little record 

crap review, from a hardcore nfr fan who was expecting a sequel

17 minutes ago, lover said:

hope everyone is enjoying the record as much as i am! i'm curious to know - what do you think about the track listing and in what order do you listen to the tracks? do you like the original one or have you created a one for yourself? do you have songs that you think need to be listened side by side?

and since no one asked, here's mine:

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1. let me love you like a woman

2. chemtrails over the country club

3. tulsa jesus freak

4. wild at heart

5. not all who wander are lost

6. dark but just a game

7. breaking up slowly

8. white dress

9. yosemite

10. dance till we die

 

i like for free, but i have difficulties placing her covers to the tracklists so for now it works as the closer, but i tend to skip it tbh

even though i can see why lmlylaw wouldn't work very well as a single, i definitely think that it sounds great as the album opener, an intro to the title track. "i'm ready to leave LA" / "i'm on the run with you, my sweet love"

the track listing works perfectly for me.

White dress is an amazing opener, and for free a great closer. It's all thematically connected and only gets a bit tiredsome towards the ends as 3-4 songs are super languid. But the bridge in Dance breaks it up a bit.

there are no awful tracks either like freak on hm or coachella on lfl

28 minutes ago, mrborntolose said:

 Love this reaction!! He really appreciates her artistry like we do and I admire that 

he's so right - let me love you is the lamest. What a weird choice to release that as the first single. Maybe interscope did some audience testing / focus groups. It's the only possible explanation

Just now, COCC said:

„Critics mixed“ Well... not really? 

 

https://eu.usatoday.com/story/entertainment/music/2021/03/19/lana-del-rey-chemtrails-over-country-club-gets-mixed-reviews/4766757001/

 

 

click bait - ignore it

2 minutes ago, Marius said:

https://kworb.net/itunes/artist/lanadelrey.html confirmed.

well fuck. But no wonder given the lack of effort she put into promoting it, and releasing the most boring track as the first single.

Her peak days on the charts are definitely over. Which is fine - Amerircan general taste in music sucks anyway. And she's number 1 in the uk

26 minutes ago, Marius said:

I mean the album got into top #4 on US Apple Music. Do you remember NFR peak?

3 i think. It was the lowest for lana. I guess this one is even lower? Is this 4 score confirmed?

52 minutes ago, Br00klynbaby said:

THE TIMES:Lana Del Rey: Chemtrails Over the Country Club review — the artist launches her best image yet. Herself

(4/5 STARS)

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Ever since she made a big splash in 2011 with Video Games, a song so moody and glamorous it could have been a figment of David Lynch’s imagination, Lana Del Rey has been an unsettling star. Variously written off as inauthentic, anti-feminist, narcissistic and irresponsible (for saying she wanted to die, an interviewer’s misinterpretation as it turned out), she hasn’t had an easy ride. And the albums have been up and down, from the lows of the VIP-area-friendly Lust for Life in 2017 to the highs of Norman F***ing Rockwell!, a vision of America in crisis, in 2019 . Now, having tried on all kinds of costumes, Del Rey has a new look: herself.

 

Set to the kind of plaintive songwriting that Joni Mitchell and Carole King did so well in the early 1970s, Chemtrails Over the Country Club turns the lens on to Del Rey’s past. It begins with her voice struggling at the top of its range on White Dress, bringing previously unheard vulnerability as she reminisces about being 19, working as a waitress, listening to the White Stripes and plying her wares at a music business conference, a glimpse of innocence before fame and its attendant tensions took over. It is very moving.

From there the album moves on to Chemtrails Over the Country Club, its title evoking the failure of luxury to erase paranoia, with images of Del Rey swimming in the pool in her jewellery, drag racing in her sports car and generally leading a privileged life that’s tinged with ennui. There’s a romantic but tragic vision of America throughout, from Tulsa Jesus Freak’s tale of an affair with an alcoholic Bible basher to a ghostly ballad called Yosemite, on which Del Rey sings in pure but resigned tones: “You made me feel invincible, like a candle in the wind.”

Every now and then you wish for a change in mood, something upbeat to bring balance, but for the most part the decision to keep things simple and subdued works. The Portishead-like Dark But Just a Game was inspired by Del Rey meeting a one-time hero of hers and finding them to be quite unpleasant, and her subsequent resolve to treat fame as a game that isn’t worth losing yourself over.

Dance Till We Die pays tribute to Mitchell, Joan Baez and Stevie Nicks before giving way to a cover of For Free, Mitchell’s 1970 song about being paid handsomely in a concert while an equally talented busker on the New York street plays clarinet outside for nothing. “They knew he had never been on the TV so they passed his music by,” sings Natalie Mering, aka Weyes Blood, a guest on the track. “He was playing real good for free.” So ends an album about the price of fame, the purity of art and the cost of living, beautifully executed, thoughtfully realised. (Polydor)

 

what a brilliant review. Basically summed up all my thoughts and feelings about the album. I love it even more now.

53 minutes ago, Umaniac said:

Umm so it's not coming out on midnight??? Wtf are they even thinking? I'm not waking up at 7 am to listen an album? Honestly I'm this close  to listening to the leak at midnight and experiencing a normal album rollout.

Lana and her team messed up. Zero regrets here.

i'll catch the itunes option when(ever) it comes out just to pay for it.

But next time - no way am i anticipating her album, when it's out it's out. Such a waste of time and energy.

3 minutes ago, Chiunzhan said:

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Tulsa Jesus Freak is... a choice...

 

I love that song name tho. It's so lana

5 hours ago, D3vilboy said:

We never got the interview on the beach either i think? She probably ghosted 

this whole era is such a mess.

like no promotion, delayed releases, very few interviews

It looks like there's very little interest in her as well.

i mean, the media solely seem to be into her weight gain, aside from NME

I remember the BTD days where she was everywhere you stepped into

Now she seems to be as popular as, well, weyes blood, or perfume genuius, 

But then she has just made an album about how much she hates fame and wants to go back to a simpler life, so who knows. 

It just occurred to me - she could have added Dealer as a bonus track. At least on iTunes. She used to have Bonus Tracks all the time (BTD, Ultraviolence).

It's a cool way of saying - it doesn't fit with the record and the record ends here, but here you go, a little treat. I guess she figured she'll leave it for the next album. 

4 minutes ago, Lustformoney said:

today i randomly woke up at 6 am with Wild at heart in my head

The second best track on the album; it's SO good. Wish it had a great video with ranches, horse riding, and a wild Lana.

2 hours ago, gsnlp said:

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the alt cover makes so much sense now.... that's the vibe

 

I would pay good money for her to go back to Krug's cover, witch Chuck and Charlie photos in the booklet. And then if she wanted to include her friends, he could have taken pictures of htem as well and had it as part of the album artwork. I just don't understand what compelled her to choose that awful cover that she chose. 

1 hour ago, paradisetropico said:

the album is spectacular. i was quite pleasantly surprised cause LMLYLAW and COTCC almost don’t fit the album. 

 

the only flaw is the album cover

& i feel like she needed 1 more song, like she mentioned in her Interview Magazine - it feels like she still has words/emotions to say but kinda just wrapped it up with for free. 

Yes! One more amazing track like White Dress or Wild at Heart, would have propelled this record to, like, my second favourite of hers. But Jack had to wrap it up, so it is what it is. 

A 50 minute running time would've been so much better too.