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

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4 minutes ago, Cacciatore said:

So the persona of this era is a crazy rich and delusional woman who should be in a mental institute but instead goes to the country club to drink champagne by the pool while she looks for a hot dude to be her next boyfriend? I'm into that :bored:

and it's all happening in oklahoma/arkansas i-


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3 minutes ago, JehovahThikness said:

and it's all happening in oklahoma/arkansas i-

I've lived in both these places (lived in Tulsa for about six years, been in Arkansas about eight) and her persona now just seems to suit this region so well. I can't explain it well but it's this feeling of eccentric, offhanded glamour -- slightly trashy/cheap/campy but ultimately stunning. 

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4 minutes ago, tripticks said:

I've lived in both these places (lived in Tulsa for about six years, been in Arkansas about eight) and her persona now just seems to suit this region so well. I can't explain it well but it's this feeling of eccentric, offhanded glamour -- slightly trashy/cheap/campy but ultimately stunning. 

as a European I don't know much at all about these places, but now I'm hyped again 

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Just now, iwannadie said:

as a European I don't know much at all about these places, but now I'm hyped again 

"Queen of the Gas Station" nails it more than anything. "Motel Six" too. That's the sensibility I want to hear from this album, if not the sound -- getting the experience of the sublime in the most unexpected places. A journey through the suburban, the nouveau riche, the rural and whatever lies beyond it. I feel like that's what she's been gathering during her recent travels.

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imagine if she makes a song about pretending to be sweet and innocent to a man just to reveal her rebellious scandalous side and it’s a metaphor for how critics treated her during nfr era cause she played it safe :flutter:


i love you, but you don't understand me.

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I feel like this record is shaping up to be the anti-thesis of NFR.
 

While I do firmly believe the narrative of NFR was completely genuine, I can’t help but think about what Lana said in Interview Magazine about the widely-accepted cultural norm of feigning “emotional-togetherness.”
 

It’s interesting to see an album like Norman be followed up with a record like Chemtrails because I feel on the former, she was portraying herself to be strong-willed in her loving of her partner, of America, and also herself. She appeared to be reaching a stage of “complacent contentment,” if you will. The way she framed her losses and gains was that of somebody who  had now been served by the system that she was living in - she stepped into the role of the leader, of the light-hearted, of the productively self-aware. 
 

However, taking into account this portrayal of herself in the Interview Magazine video, in her recent poems (most notably “Patent Leather Do-Over” on Behind the Iron Gates), her posting “Question for the Culture” and touching on the idea of a hyper-feminine fragility being prisoning and isolating (again, see the title Behind the Iron Gates), and the realization that she will never be justified in her artistry because of how jarring her own narrative is to a culture that is appalled  by the truths about mental health and domestic crises she bears unabashedly, Lana seems to be embracing the lack of stability that almost everybody is experiencing right now. 
 

I think a lot of this increased anxiety is the result of the pandemic (and I think we’ll see that on songs like “Grenadine Quarantine” and “If this is the End...I Want a Boyfriend”- assuming they are songs and that they will be on the album), but the difference is that on Norman, Lana mourns the state of the world by serving up strength as a sign of the times, but already on Chemtrails, she seems to be descending into the madness percolating throughout the ether and morphing into this eerie-but-strangely-glamorous mania. 

Looking back, though, she had foreshadowed this on “Hope is a Dangerous Thing for a Woman Like Me to Have - But I Have it.” She bares her soul on that song and brings all the darkness into the light, and it’s particularly telling that “Hope” is the song that closes a record as defiant as NFR. The title track starts with laughter, but “Hope” ends with tears. That almost signifies that the entire journey she takes us through on Norman is hopeless, for she just finds herself being pulled into her own darkness again, and that’s why hope is a dangerous thing for a woman like her to have. But she has it, and I think that kind of “hopeful-hopelessness” is paradoxical and really showcases Lana’s brilliance as an artist. A true genius of her time and beyond. 

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I actually don't mind she delayed the album. If the rest of the rollout will be littered with gems like these, I'm here for it. Give us devotion to the era yesss :icant:

Honeymoon era found dead in the ditch jk jk, i love it that era so much


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This is so FUCKING exciting I love it!!!!

I feel like this era she’s back to being more Lana Del Rey and bringing that persona back, it you will. 
She was def more herself during the NFR! era, more her day to day normal personality in interviews and etc. 

I feel like now Lana is back and I’m LIVING

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I want COCC to be that album that you just heard 30 seconds and you’re already dying bc how iconic that is

Just now, JehovahThikness said:

it feels like i've been saying that phrase for a year now :toofloppy::angie:

It’s been 84 years by now


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