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TEMPORARY Chemtrails Over the Country Club - Pre-Release Thread: OUT March 19th, 2021

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3 minutes ago, lannisterpussy said:

the acclaim

 

i need someone to say fuck it and give it a 100

 

i feel like the reviews will be consistently good but with a lot less eye popping scores like norman got

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Omg we going acclaim?

 

I left Calabasas, escaped all the ashes, ran into the dark 

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and it made me wild, wild at heart 

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the cameras have flashes, they cause the car crashes but i'm not a star

GGBVJsD.gif

 

if you love me, you'll love me cuz i'm wild, wild at heart

JxUQz16.gif

 

 

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Is anyone else slightly put-off by the nature of these reviews? Like yes, it’s amazing that Chemtrails is meeting such critical acclaim, but I really dislike how all these major publications feel the need to discredit her past albums in order to make the case for this one. Good journalism doesn’t need to bash something else in order to make the argument for whatever it is that is being written about. Appreciating Lana’s growth is one thing, but dismissing past albums as “confused” seems like a cop-out. :oprah3:

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Just now, Poor Stacy said:

I think it's straight 80s so far?

All Music - 80

The Line of Best Fit - 80

Mojo - 80 

 

For the reviews that count toward MC, that is.

ya, literally every review has been an 80, even the ones that don't count for MC
 

the times - 80

louder than war - 80 

 

i expect an NME review either right at midnight, or sometime today - and they always STAN so hopefully its a 100.

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I think today has solidified this as one of the most chaotic pre-releases to date :defeated:

 

as bad as NFR was, she fed us well in the late summer with FIILY and The greatest and doin time mvs (and other random songs like looking for America). The silence after HIADTFFFAHAHHAJA was excruciating tho

 

at least we have Caucasian gown video to look forward to (idk who coined that name but I love it)
 

 


You should come over 

giphy.gif

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1 minute ago, venicesnitch said:

I think today has solidified this as one of the most chaotic pre-releases to date :defeated:

 

as bad as NFR was, she fed us well in the late summer with FIILY and The greatest and doin time mvs (and other random songs like looking for America). The silence after HIADTFFFAHAHHAJA was excruciating tho)

 

at least we have Caucasian gown video to look forward to (idk who coined that name but I love it)
 

 

 

She didnt want to damage COCC music with her tabloid stories,  thats why she has drawn back lately

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2 minutes ago, Poor Stacy said:

I fucking hate The Guardian. They gave NFR 3 stars and I remember fuming. I actually wrote a response in their comments politely dragging Alexis. :lmao: 

If they don't give her 4 stars this time I'm going to go postal.

that guy is a POS. he gives EVERY female pop-adjacent album a 3 or lower and the review always reeks of sexism :rip: 

 

 

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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.

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19 minutes ago, littleredpartydress said:

im cringing that author reviewed for free as if it was her song, and even compared it to joni, not realizing it was a cover of a joni song

 

this is why critics are meaningless, even if they do give good reviews :rip: 

The worst part is they’re comparing For Free to Joni, but saying Joni’s perspective would’ve been different.....? Proof that critics just put Joni up on a pedestal to bring other artists down without actually being familiar with her art. :flop:


75db99d920c2ca66a0ee7e5c2de27df4181ca688

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