Chemtrails Over the Country Club - Post-Release Discussion Thread + Poll

[honeybadger 40,622]

3 minutes ago, Pico Boulevard said:

It kinda does!!!

Did you notice that on background noise that they used on BTD ?!!

 

yessss the autotuned loon, also the chorus/choral effect during the bridge feels very BTD to me for some reason and the other random noises, i love it so much 

[bel air rose 11,631]

i love how everyone had a meltdown about this being her first clean album meanwhile she ended up saying fuck in dbjag and shit in dtwd 

[nxtlvl 39]

yosemite is lovely. top tier

[Rorman Nockwell 56,967]

I can't remember who said it (whether it was someone on here or Discord or) but someone said that Bartender would've fit on COCC and I agree. It has that same eccentric vibe that many of these songs have

[Beautiful Loser 49,672]

I put on Yosemite just to read salv’s post above

[salvatore 21,769]

2 minutes ago, Clampigirl said:

Okay, album just finished. I’m definitely fully awake now.

I’m sure this album will grow on me. Some songs are clearly pop, but the others belong more in a different genre I’m not used to. None of the songs really smacked me across the face and took my breath away the way Mariner’s or Venice did, but White Dress get close to that with her high, whispery voice pressing out as many words as possible under two seconds, making the song very intense for a moment. It also makes me think of the “I am my on-e-ly god” in Disco.

TJF uses autocorrect properly, it brings something to a song and isn’t overused just because it’s a cool effect.

I still don’t care much for For Free. Is a pretty song, the harmonies are perfect. I just... don’t feel it, I guess.

Let me love you like a woman sounds better on the album, but I’m afraid that I still don’t care much for it either. But, like I’ve said before, I’m sure I’ll appreciate it one day when I can relate to the lyrics.

Breaking up slowly was criminally short. They could’ve easily made it into a longer song with a gorgeous outro.

 

I just feel, I dunno, that Norman had better transitions between the songs? Add a few seconds of silence after Tulsa and it would’ve been even better. This album clearly has better production though. And you can tell that it was made closely to Norman; the similar instruments in Wild at Heart and How to Disappear (does she sample HtD?), and the vague similarities between  Dance till we die and Venice Bitch. I’m... Hmm, I don’t know if I like that. It bothers me a little. I hope it one day won’t.

 

I don’t dislike the album. It’s definitely more cohesive than Norman - Yosemite actually sounds like it fits in here while BAR still feels like a pebble in the shoe on NFR! - and I’ll keep it on repeat the next days to get used to it even more.

This album feels very Lizzy Grant and today’s Lana Del Rey at the same time. It’s very cool, and something I thought we might get one day but nothing I dared to hope for.

 

I’ll come back and comment on Yosemite later. <3

yes love song and how to disappear are sampled on WaH, which i personally think serves as a cute synopsis to NFR! in song form on her sister record, the mentions of instagram (livestream on tG), her adventures across namedropped areas around california and escaping the ashes thereof (NFR! cover + sorta fiily 'met you on the boulevard'), it's how i've come to process the song over the past week and it's definitely helped make it more palatable and i am deeply in love with it now

 

 

[Pico Ocean Boulevard 41,450]

2 minutes ago, salvatore said:

SALVATORE'S UPDATED THOUGHTS ON YOSEMITE

yosemite- i lied above. i listened to the entire record with the incense and the breeze but yosemite i saved, i saved until the dead of night, and drove to an observatory be alone in my car outlooking the silent city sparkling on cliffside, engulfed in pines and hibernating wildflowers and i played yosemite on repeat for 45 or so minutes staring silently into the dead. this song is everything i've ever wanted. it's what kept me alive in a year i tried my best not to be and i built a fun following around it, i emailed interviewers, writers, tried to find photographers and collected every bit of information of the song i could. bought magazines that referenced yosemite, i did an entire paper around Yosemite by John Muir. I have two shirts from the 70s referencing yosemite, i've stumbled upon bottle openers from the park out in the roads where i'd walk alone at night hoping i'd be at the wrong end of a desperate persons violence for no reason other than trying to find feeling, yosemite is a lot to me and when we didn't get it in LfL i was heartbroken and decided to crave it more than ever before

 

upon her interview of MAC/VB i knew Architecture was the theme of Norman. Even though the song said to not start the new record i felt she wouldn't give up the past title track of Lust for Life that easy, or at least her muse wouldn't. The description of norman as a cocky artist with an ego that needed settling, the rejected scraps of White Mustang's music video, it all felt too coincidental and i called it that Architecture would have inspired, or be on the album (i was right), following i felt Yosemite would come to fruition here, having Lust for Life be this disjointed parent record of Norman Fucking Rockwell, i figured it'd stay similar for 'White Hot Forever'; the attempts at social commentary, the deliverance into an acoustic side to her discography, they'd be messily glued on Lust for Life and then refound in their own spaces, and now they have been. and Yosemite is the song of Chemtrails.

 

The music itself is everything i had hoped, it was brooding, optimistic, enchanting, emotional and methodical. Her rescinding the song out of vocal vulnerability in the same breath she killed malibu out of fear of transparency found a funny way into an album full of airy and broken vocals. White Dress being a thread laced through Wild at Heart in the way it is through Yosemite through Dark through For Free. The a capella she sung in 2017 obviously didn't do it justice and how anyone thought it could was laughable and that is their own fault. Her voice here is gorgeous, the song writing is beautiful, the atmosphere created in this song is so . fucking. beautiful. I knew this song was my favorite she's ever made before hearing it and I've heard it and it's still the best song she's ever created. The bridge is like a god speaking through the sky in thundering tongues and lightning flares. The imagery i suspected years ago of desert-y folk songs you'd look out over the desert and see an impending storm rings true, this is the calm inside a storm, it's an ignorant and threatened peace. i see nothing but rainless storms and sharp winds light by the invincible glow of candlelight. Yosemite is immaculate, a highlight, and a mission statement for the record. It couldn't be without Chemtrails and Chemtrails couldn't be without Yosemite. 

 

She wasn't quite at yosemite in 2017, and being able to confidently proclaim enough that she could put a song about doing things for free on a record bookended with a memoir about making art for free, and a collaborative homage to a song about lovingly observing others making art for free is quite powerful. Her never mentioning Yosemite in the lyrics is powerful

 

Yosemite being the only 1-word song on this album is powerful. 

She's so powerful, and so very realized

So happy for you !!! Wow that review

[Thick Cocc 33]

For Free is so fucking amazing. Tomorrow Never Came had a good run...

[StillOnMyMind 2,059]

I knew the album would be dragged by “fans” but praised by the critic.

 

I know it not her most easy-going album, and of course not very instant. But this is brilliant and one of her best projects. 
 

I don’t think she will ever top NFR!, but if she keeps releasing quality like this, I’m on it. 
 

NFR!, COCC and UV are her trinity.

[Ultraviolencequeen 2,864]

Wow.

love.

wish the album was longer. Because wow what a heavenly world to be in.

 

initial favs:

 

white dress

 

Dark but just a game

 

Wild and heart 

 

TJF

 

Only so far listened once. 

 

[Party Favor 10,326]

2 minutes ago, StillOnMyMind said:

I knew the album would be dragged by “fans” but praised by the critic.

 

I know it not her most easy-going album, and of course not very instant. But this is brilliant and one of her best projects. 
 

I don’t think she will ever top NFR!, but if she keeps releasing quality like this, I’m on it. 
 

NFR!, COCC and UV are her trinity.

whos draggin the album? twitter rats?

[domandapiano 12,117]

I have decided to be happy with the reviews whatever they are. Pitchforks review was less an album review and more a commentary on her as a persona and as a person, though I found it at least mildly interesting. 
 

[paradisetropico 7,984]

I was so pleasantly surprised by Yosemite, I was real worried it would be "too happy" like described by LDR, but in fact it is one haunting song that invokes such hope in such a mystical emotional way. 

[Churchome Rep 3,383]

Breaking Up Slowly has some of the most concise lyrics

 

don’t wanna end up like Tammy Wynette

Are these my good years or do I have none?

[lustforlife 19,008]

YES. SHE DID AGAIN. ANOTHER PERFECT ALBUM

 

[Thick Cocc 33]

Anyone else feel like White Hot Forever would have been a better album name? 

[Nobody 21,608]

taste! 

[Dark Angel 203,548]

13 minutes ago, salvatore said:

SALVATORE'S UPDATED THOUGHTS ON YOSEMITE

yosemite- i lied above. i listened to the entire record with the incense and the breeze but yosemite i saved, i saved until the dead of night, and drove to an observatory be alone in my car outlooking the silent city sparkling on cliffside, engulfed in pines and hibernating wildflowers and i played yosemite on repeat for 45 or so minutes staring silently into the dead. this song is everything i've ever wanted. it's what kept me alive in a year i tried my best not to be and i built a fun following around it, i emailed interviewers, writers, tried to find photographers and collected every bit of information of the song i could. bought magazines that referenced yosemite, i did an entire paper around Yosemite by John Muir. I have two shirts from the 70s referencing yosemite, i've stumbled upon bottle openers from the park out in the roads where i'd walk alone at night hoping i'd be at the wrong end of a desperate persons violence for no reason other than trying to find feeling, yosemite is a lot to me and when we didn't get it in LfL i was heartbroken and decided to crave it more than ever before

 

upon her interview of MAC/VB i knew Architecture was the theme of Norman. Even though the song said to not start the new record i felt she wouldn't give up the past title track of Lust for Life that easy, or at least her muse wouldn't. The description of norman as a cocky artist with an ego that needed settling, the rejected scraps of White Mustang's music video, it all felt too coincidental and i called it that Architecture would have inspired, or be on the album (i was right), following i felt Yosemite would come to fruition here, having Lust for Life be this disjointed parent record of Norman Fucking Rockwell, i figured it'd stay similar for 'White Hot Forever'; the attempts at social commentary, the deliverance into an acoustic side to her discography, they'd be messily glued on Lust for Life and then refound in their own spaces, and now they have been. and Yosemite is the song of Chemtrails.

 

The music itself is everything i had hoped, it was brooding, optimistic, enchanting, emotional and methodical. Her rescinding the song out of vocal vulnerability in the same breath she killed malibu out of fear of transparency found a funny way into an album full of airy and broken vocals. White Dress being a thread laced through Wild at Heart in the way it is through Yosemite through Dark through For Free. The a capella she sung in 2017 obviously didn't do it justice and how anyone thought it could was laughable and that is their own fault. Her voice here is gorgeous, the song writing is beautiful, the atmosphere created in this song is so . fucking. beautiful. I knew this song was my favorite she's ever made before hearing it and I've heard it and it's still the best song she's ever created. The bridge is like a god speaking through the sky in thundering tongues and lightning flares. The imagery i suspected years ago of desert-y folk songs you'd look out over the desert and see an impending storm rings true, this is the calm inside a storm, it's an ignorant and threatened peace. i see nothing but rainless storms and sharp winds light by the invincible glow of candlelight. Yosemite is immaculate, a highlight, and a mission statement for the record. It couldn't be without Chemtrails and Chemtrails couldn't be without Yosemite. 

 

She wasn't quite at yosemite in 2017, and being able to confidently proclaim enough that she could put a song about doing things for free on a record bookended with a memoir about making art for free, and a collaborative homage to a song about lovingly observing others making art for free is quite powerful. Her never mentioning Yosemite in the lyrics is powerful

 

Yosemite being the only 1-word song on this album is powerful. 

She's so powerful, and so very realized

 

this is genuinely beautiful honestly

[Coney Island King 26,125]

Yosemite is California’s little sister, and the long distant relative of Madonna’s “Xstatic Process”.

[HighbytheSea 4,790]

12 minutes ago, salvatore said:

SALVATORE'S UPDATED THOUGHTS ON YOSEMITE

yosemite- i lied above. i listened to the entire record with the incense and the breeze but yosemite i saved, i saved until the dead of night, and drove to an observatory be alone in my car outlooking the silent city sparkling on cliffside, engulfed in pines and hibernating wildflowers and i played yosemite on repeat for 45 or so minutes staring silently into the dead. this song is everything i've ever wanted. it's what kept me alive in a year i tried my best not to be and i built a fun following around it, i emailed interviewers, writers, tried to find photographers and collected every bit of information of the song i could. bought magazines that referenced yosemite, i did an entire paper around Yosemite by John Muir. I have two shirts from the 70s referencing yosemite, i've stumbled upon bottle openers from the park out in the roads where i'd walk alone at night hoping i'd be at the wrong end of a desperate persons violence for no reason other than trying to find feeling, yosemite is a lot to me and when we didn't get it in LfL i was heartbroken and decided to crave it more than ever before

 

upon her interview of MAC/VB i knew Architecture was the theme of Norman. Even though the song said to not start the new record i felt she wouldn't give up the past title track of Lust for Life that easy, or at least her muse wouldn't. The description of norman as a cocky artist with an ego that needed settling, the rejected scraps of White Mustang's music video, it all felt too coincidental and i called it that Architecture would have inspired, or be on the album (i was right), following i felt Yosemite would come to fruition here, having Lust for Life be this disjointed parent record of Norman Fucking Rockwell, i figured it'd stay similar for 'White Hot Forever'; the attempts at social commentary, the deliverance into an acoustic side to her discography, they'd be messily glued on Lust for Life and then refound in their own spaces, and now they have been. and Yosemite is the song of Chemtrails.

 

The music itself is everything i had hoped, it was brooding, optimistic, enchanting, emotional and methodical. Her rescinding the song out of vocal vulnerability in the same breath she killed malibu out of fear of transparency found a funny way into an album full of airy and broken vocals. White Dress being a thread laced through Wild at Heart in the way it is through Yosemite through Dark through For Free. The a capella she sung in 2017 obviously didn't do it justice and how anyone thought it could was laughable and that is their own fault. Her voice here is gorgeous, the song writing is beautiful, the atmosphere created in this song is so . fucking. beautiful. I knew this song was my favorite she's ever made before hearing it and I've heard it and it's still the best song she's ever created. The bridge is like a god speaking through the sky in thundering tongues and lightning flares. The imagery i suspected years ago of desert-y folk songs you'd look out over the desert and see an impending storm rings true, this is the calm inside a storm, it's an ignorant and threatened peace. i see nothing but rainless storms and sharp winds light by the invincible glow of candlelight. Yosemite is immaculate, a highlight, and a mission statement for the record. It couldn't be without Chemtrails and Chemtrails couldn't be without Yosemite. 

 

She wasn't quite at yosemite in 2017, and being able to confidently proclaim enough that she could put a song about doing things for free on a record bookended with a memoir about making art for free, and a collaborative homage to a song about lovingly observing others making art for free is quite powerful. Her never mentioning Yosemite in the lyrics is powerful

 

Yosemite being the only 1-word song on this album is powerful. 

She's so powerful, and so very realized

FRAME THIS. ITS WHAT YOU DESERVE. well done, well done. Now go, enjoy this bliss you earned. Go forth in joy. I'm so happy for you!