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

[anwdelrey 8,964]

So far: Mojo: 80/100

allmusic: 80/100

[AW Pussy 4,458]

Just now, salvatoredreams said:

  Reveal hidden contents

is white dress similar to old money in any way?

 

Spoiler

umm it's pretty emotional track too... but otherwise no

 

[Surf Noir 188,227]

the album will be out tonight... we can FINALLY say... that we've FINALLY... OFFICIALLY... WON!

 

 

 

also, we'll be starting the pre-release era for ldr8 tonight... the spirit of chaos & delusion is forever... 

 

 

[necessary sacrifice 8,864]

Spoiler

I already love this album omg. But at the same time I feel like I haven’t even began to absorb it yet. Tbh I’m surprised how Beatlesy this album is. Like this and Let It Be would be such great albums to listen to together. If NFR was more Beach Boys, COTCC is definitely more Beatles. And I was relieved she wasn’t actually trying to emulate Joni on any songs because she’s already comparable to her naturally without trying. I was a little nervous because people said she was trying too hard to be Joni on this album, but thankfully that couldn’t be further from the truth. Artistically, the title track, Tulsa Jesus Freak, and Yosemite are the most Joni-esque songs on the album by far. But even those three are much more Beatles than anything else. Also some heavy Springsteen vibes on Wild at Heart and Dance till We Die, especially their choruses (I can’t wait to hear his opinion). But then the breakdown in DTWD is so Beatlesy that I’m convinced there’s a Beatles song with a similar sounding breakdown that I can’t think of at the moment but I can almost hear Paul wailing to the same rhythm in my head idk. The most Beatles-esque song is definitely Dark But Just a Game, like it’s soaked in every Beatles element possible. Sonically, it’s like if you made a bot listen to every Beatles song then made them create their own lol. Not All Who Wander Are Lost has that soft twinkly feeling with angelic harmonies that reminds me a bit of both Across the Universe and Mother Nature’s Son. Yosemite is like if Because, Within You Without You, and Strawberry Fields Forever had a baby then you sprinkled it with extra fairy dust. And I love how in both TJF and Yosemite, she references not being a candle in the wind, which ties to the Tammy Wynette name drop since she actually has a song “(I’m Not) A Candle in the Wind” so it’s like she’s really in her Tammy Wynette phase. Also Nikki sounds so much like someone on Breaking Up Slowly, but I can’t put my finger on it. I’m positive she sounds like someone from a musical, but I can’t think of which musical it could be lol. And omg on For Free, Weyes does really sound almost just like Joni Mitchell, like I had CHILLS the first listen, and Zella sounds almost like Melanie (Safka), so it was like Lana travelled back to 1969 to do a folk ladies singalong. The only thing is Weyes Blood’s voice is almost too perfect. It’s so smooth and steady and strong that it almost sounds too good to be Joni, like it lacks the human imperfections of Joni’s voice. And that’s a compliment too, it’s just a tad jarring after a couple listens because I’m too familiar with Joni’s voice and how it kinda cracks in places or goes a little off the rails sometimes but Weyes’ voice is like if you took away Joni’s cigarettes and gave her a professional vocal coach lol. And as much as I love the clarinet in the original, I’m actually glad they didn’t include it because it does lead right into another song, so it would’ve sounded too open-ended and awkward to conclude the album like that. And I love how Lana actually says “not all THOSE who wander are lost” in NAWWAL since that’s the actual quote from the books. I’ve always wondered if it was misquoted on everything due to copyright, so maybe that’s why the song title had to be the famous misquote too. But it was nice knowing that she truly was quoting Tolkien and didn’t just see it on a bumper sticker. I honestly feel like the entirety of “The Riddle of Strider” thematically matches the album as a whole so perfectly. And thinking of Tolkien, maybe it’s just because Yosemite follows NAWWAL, but Yosemite makes me think so much of Beren and Lúthien. I can almost see them dancing under the stars in the forest of Neldoreth while it plays. And Yosemite also truly does feel like the soul sister to Joni Mitchell’s Jericho. I listened to them back to back and I just felt so peaceful and hopeful and a little melancholy but in a comforting way. Also I didn’t find White Dress all that sad. It’s nostalgic and melancholy but in a wistful way. Not really happy either though either. I mean, if I was really sad while listening to it, the song would be way sadder, but that’s the case with most Lana songs. The album overall feels very wistful and happy and carefree, like she’s embracing freedom. In a way it’s like the polar opposite of Joni Mitchell’s Hejira, truly more of a fun chaotic DJRD type album for sure. Actually there’s a few moments on COTCC that feel almost like thematic parallels to moments on DJRD as if they were fishing from the same creativity pond again. But sonically, the Joni album it’s probably closest to is Clouds, very sparse and full of layered harmonies with herself. But the albums it reminds me most of are The Beatles’ Let it Be, Joan Baez’s David’s Album, and Bruce Springsteen’s The River. And idk if this’ll change, but at this point, Violet is still my favourite, but Chemtrails might be a close second. Sorry for writing an essay, I just had a lot of thoughts. 

 

[Surf Noir 188,227]

6 minutes ago, recklessdaughter said:

  Reveal hidden contents

I already love this album omg. But at the same time I feel like I haven’t even began to absorb it yet. Tbh I’m surprised how Beatlesy this album is. Like this and Let It Be would be such great albums to listen to together. If NFR was more Beach Boys, COTCC is definitely more Beatles. And I was relieved she wasn’t actually trying to emulate Joni on any songs because she’s already comparable to her naturally without trying. I was a little nervous because people said she was trying too hard to be Joni on this album, but thankfully that couldn’t be further from the truth. Artistically, the title track, Tulsa Jesus Freak, and Yosemite are the most Joni-esque songs on the album by far. But even those three are much more Beatles than anything else. Also some heavy Springsteen vibes on Wild at Heart and Dance till We Die, especially their choruses (I can’t wait to hear his opinion). But then the breakdown in DTWD is so Beatlesy that I’m convinced there’s a Beatles song with a similar sounding breakdown that I can’t think of at the moment but I can almost hear Paul wailing to the same rhythm in my head idk. The most Beatles-esque song is definitely Dark But Just a Game, like it’s soaked in every Beatles element possible. Sonically, it’s like if you made a bot listen to every Beatles song then made them create their own lol. Not All Who Wander Are Lost has that soft twinkly feeling with angelic harmonies that reminds me a bit of both Across the Universe and Mother Nature’s Son. Yosemite is like if Because, Within You Without You, and Strawberry Fields Forever had a baby then you sprinkled it with extra fairy dust. And I love how in both TJF and Yosemite, she references not being a candle in the wind, which ties to the Tammy Wynette name drop since she actually has a song “(I’m Not) A Candle in the Wind” so it’s like she’s really in her Tammy Wynette phase. Also Nikki sounds so much like someone on Breaking Up Slowly, but I can’t put my finger on it. I’m positive she sounds like someone from a musical, but I can’t think of which musical it could be lol. And omg on For Free, Weyes does really sound almost just like Joni Mitchell, like I had CHILLS the first listen, and Zella sounds almost like Melanie (Safka), so it was like Lana travelled back to 1969 to do a folk ladies singalong. The only thing is Weyes Blood’s voice is almost too perfect. It’s so smooth and steady and strong that it almost sounds too good to be Joni, like it lacks the human imperfections of Joni’s voice. And that’s a compliment too, it’s just a tad jarring after a couple listens because I’m too familiar with Joni’s voice and how it kinda cracks in places or goes a little off the rails sometimes but Weyes’ voice is like if you took away Joni’s cigarettes and gave her a professional vocal coach lol. And as much as I love the clarinet in the original, I’m actually glad they didn’t include it because it does lead right into another song, so it would’ve sounded too open-ended and awkward to conclude the album like that. And I love how Lana actually says “not all THOSE who wander are lost” in NAWWAL since that’s the actual quote from the books. I’ve always wondered if it was misquoted on everything due to copyright, so maybe that’s why the song title had to be the famous misquote too. But it was nice knowing that she truly was quoting Tolkien and didn’t just see it on a bumper sticker. I honestly feel like the entirety of “The Riddle of Strider” thematically matches the album as a whole so perfectly. And thinking of Tolkien, maybe it’s just because Yosemite follows NAWWAL, but Yosemite makes me think so much of Beren and Lúthien. I can almost see them dancing under the stars in the forest of Neldoreth while it plays. And Yosemite also truly does feel like the soul sister to Joni Mitchell’s Jericho. I listened to them back to back and I just felt so peaceful and hopeful and a little melancholy but in a comforting way. Also I didn’t find White Dress all that sad. It’s nostalgic and melancholy but in a wistful way. Not really happy either though either. I mean, if I was really sad while listening to it, the song would be way sadder, but that’s the case with most Lana songs. The album overall feels very wistful and happy and carefree, like she’s embracing freedom. In a way it’s like the polar opposite of Joni Mitchell’s Hejira, truly more of a fun chaotic DJRD type album for sure. Actually there’s a few moments on COTCC that feel almost like thematic parallels to moments on DJRD as if they were fishing from the same creativity pond again. But sonically, the Joni album it’s probably closest to is Clouds, very sparse and full of layered harmonies with herself. But the albums it reminds me most of are The Beatles’ Let it Be, Joan Baez’s David’s Album, and Bruce Springsteen’s The River. And idk if this’ll change, but at this point, Violet is still my favourite, but Chemtrails might be a close second. Sorry for writing an essay, I just had a lot of thoughts. 

 

 

this is such a wonderful review!  

[Marius 12,296]

15 minutes ago, recklessdaughter said:

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I already love this album omg. But at the same time I feel like I haven’t even began to absorb it yet. Tbh I’m surprised how Beatlesy this album is. Like this and Let It Be would be such great albums to listen to together. If NFR was more Beach Boys, COTCC is definitely more Beatles. And I was relieved she wasn’t actually trying to emulate Joni on any songs because she’s already comparable to her naturally without trying. I was a little nervous because people said she was trying too hard to be Joni on this album, but thankfully that couldn’t be further from the truth. Artistically, the title track, Tulsa Jesus Freak, and Yosemite are the most Joni-esque songs on the album by far. But even those three are much more Beatles than anything else. Also some heavy Springsteen vibes on Wild at Heart and Dance till We Die, especially their choruses (I can’t wait to hear his opinion). But then the breakdown in DTWD is so Beatlesy that I’m convinced there’s a Beatles song with a similar sounding breakdown that I can’t think of at the moment but I can almost hear Paul wailing to the same rhythm in my head idk. The most Beatles-esque song is definitely Dark But Just a Game, like it’s soaked in every Beatles element possible. Sonically, it’s like if you made a bot listen to every Beatles song then made them create their own lol. Not All Who Wander Are Lost has that soft twinkly feeling with angelic harmonies that reminds me a bit of both Across the Universe and Mother Nature’s Son. Yosemite is like if Because, Within You Without You, and Strawberry Fields Forever had a baby then you sprinkled it with extra fairy dust. And I love how in both TJF and Yosemite, she references not being a candle in the wind, which ties to the Tammy Wynette name drop since she actually has a song “(I’m Not) A Candle in the Wind” so it’s like she’s really in her Tammy Wynette phase. Also Nikki sounds so much like someone on Breaking Up Slowly, but I can’t put my finger on it. I’m positive she sounds like someone from a musical, but I can’t think of which musical it could be lol. And omg on For Free, Weyes does really sound almost just like Joni Mitchell, like I had CHILLS the first listen, and Zella sounds almost like Melanie (Safka), so it was like Lana travelled back to 1969 to do a folk ladies singalong. The only thing is Weyes Blood’s voice is almost too perfect. It’s so smooth and steady and strong that it almost sounds too good to be Joni, like it lacks the human imperfections of Joni’s voice. And that’s a compliment too, it’s just a tad jarring after a couple listens because I’m too familiar with Joni’s voice and how it kinda cracks in places or goes a little off the rails sometimes but Weyes’ voice is like if you took away Joni’s cigarettes and gave her a professional vocal coach lol. And as much as I love the clarinet in the original, I’m actually glad they didn’t include it because it does lead right into another song, so it would’ve sounded too open-ended and awkward to conclude the album like that. And I love how Lana actually says “not all THOSE who wander are lost” in NAWWAL since that’s the actual quote from the books. I’ve always wondered if it was misquoted on everything due to copyright, so maybe that’s why the song title had to be the famous misquote too. But it was nice knowing that she truly was quoting Tolkien and didn’t just see it on a bumper sticker. I honestly feel like the entirety of “The Riddle of Strider” thematically matches the album as a whole so perfectly. And thinking of Tolkien, maybe it’s just because Yosemite follows NAWWAL, but Yosemite makes me think so much of Beren and Lúthien. I can almost see them dancing under the stars in the forest of Neldoreth while it plays. And Yosemite also truly does feel like the soul sister to Joni Mitchell’s Jericho. I listened to them back to back and I just felt so peaceful and hopeful and a little melancholy but in a comforting way. Also I didn’t find White Dress all that sad. It’s nostalgic and melancholy but in a wistful way. Not really happy either though either. I mean, if I was really sad while listening to it, the song would be way sadder, but that’s the case with most Lana songs. The album overall feels very wistful and happy and carefree, like she’s embracing freedom. In a way it’s like the polar opposite of Joni Mitchell’s Hejira, truly more of a fun chaotic DJRD type album for sure. Actually there’s a few moments on COTCC that feel almost like thematic parallels to moments on DJRD as if they were fishing from the same creativity pond again. But sonically, the Joni album it’s probably closest to is Clouds, very sparse and full of layered harmonies with herself. But the albums it reminds me most of are The Beatles’ Let it Be, Joan Baez’s David’s Album, and Bruce Springsteen’s The River. And idk if this’ll change, but at this point, Violet is still my favourite, but Chemtrails might be a close second. Sorry for writing an essay, I just had a lot of thoughts. 

 

Pitchfork better take notes. 

[Brooklynbaby 2,716]

Don’t forget to review it on album of the year’s website when you listen to it it’s currently number two!

[#vapeinfluencer 4,747]

omgawd no way its dope

 

[iphone11 1,153]

80/100

 

Lana Del Rey: Chemtrails Over the Country Club review — the artist launches her best image yet. Herself | Times2 | The Times

[past the bushes 30,906]

Spoiler

Gods & Monsters - The greatest - Dark But Just A Game: the Holy Trinity of fame and music industry diss

 

[The Stargirl Pinky 66,791]

6 minutes ago, hip hop in the summer said:

omgawd no way its dope

 

THERE’S MORE OMG  

 

These are are a dream come true. I’m archiving these before they disappear from the internet 

[Brooklynbaby 2,716]

7 minutes ago, hip hop in the summer said:

omgawd no way its dope

 

Lowkey iconic  I was waiting for the accent changes 

[littleredpartydress 48,317]

5 minutes ago, normanrockweII said:

80/100

 

Lana Del Rey: Chemtrails Over the Country Club review — the artist launches her best image yet. Herself | Times2 | The Times

omg surprised by the good reviews so far

 

wish it wasnt behind a paywall, would love to read

[stupidapartmentcomplex 10,124]

got my black dress on tonight / pre-release funeral on the lana del rey forum site

 

 

but along with a funeral of an old thread, a new thread is born and im all rejuvenated & freshened up & full of energy for a new pre-release era 

i'm not tired at all im not tired at all not tired at all at all

[Brooklynbaby 2,716]

OMG!!! Dealer l*aked linked below 

Spoiler

 

 

[honeybadger 40,620]

14 minutes ago, hip hop in the summer said:

omgawd no way its dope

 

 

the way i was about to warn you that sharing links might get you banned and then i pressed play  

 

honestly i applaud him for putting in all this effort like an entire cover album? lana's cover album could never

[prettywhenimhigh 48,271]

like madonna said

time goes by so. SLOWLY. 

feels like an eternity now that we're closer than ever, are we really sure it's dropping midnight?

[anwdelrey 8,964]

10 minutes ago, normanrockweII said:

80/100

 

Lana Del Rey: Chemtrails Over the Country Club review — the artist launches her best image yet. Herself | Times2 | The Times

The unexpected critical acclaim arriving... ?

[Lustformoney 40,354]

every review is 80/100 and we all know it would be 100 if not For flop and Flopping Slowly

[Br00klynbaby 59]

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

(4/5 STARS)

 

Spoiler

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)