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These songs are slow but not necessarily long, bare-bones but not quite empty. Chemtrails draws you into a different speed, a distended sense of time and sound. This makes it something of a demanding listen. Chemtrails ebbs and flows like post-rock elsewhere, bubbling up slowly and settling into sated silence. (LanaвЂ™s вЂњFor FreeвЂќ is faithfully delicate, though backing vocals from Weyes Blood and Zella Day help flesh it out.) The albumвЂ™s understated drums are almost always live, barring the heartbeat thump in вЂњLet Me Love You Like a Woman.вЂќ вЂњTulsa Jesus FreakвЂќ plays its hip-hop beat as lightly as a Ka song would. The sax-rock breakdown in вЂњDance Till We DieвЂќ comes as a shock, like a playback of Joni MitchellвЂ™s stark Blue interrupted with a cut from the lush Court and Spark. The gorgeous multitracked guitars in вЂњNot All Who Wander Are LostвЂќ donвЂ™t peek out of the mix until the songвЂ™s final seconds. Where the last album would build from gossamer acoustic melodies to booming beats, and swell to triumphant rock-and-roll climaxes, Chemtrails deals arrangements that still feel hushed with the volume all the way up. On Chemtrails, sheвЂ™s exploring America, pining for Oklahoma and Arkansas in вЂњTulsa Jesus FreakвЂќ and for Nebraska in вЂњNot All Who Wander Are Lost.вЂќ The opener, вЂњWhite Dress,вЂќ details an eventful trip to Florida.Д¬hemtrails is a subtle scaling back of the already sparse sonics of Rockwell. вЂњEverythingвЂ™s burnt here / ThereвЂ™s no escaping it,вЂќ she laments in вЂњThe Land of 1,000 Fires.вЂќ In вЂњSportsCruiser,вЂќ sheвЂ™s taking flying and sailing lessons to clear her head in вЂњLA Who Am I to Love You?,вЂќ she tries (and ultimately fails) to make San Francisco work for her instead. That albumвЂ™s itch to escape Los Angeles bled into the writing collected last year in Violet Bent Backwards Over the Grass, LanaвЂ™s first book of poetry and spoken-word album.

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Rick Nowels, who co-wrote and co-produced вЂњSummertime Sadness,вЂќ вЂњHigh by the Beach,вЂќ вЂњLust for Life,вЂќ and many more Lana classics, accompanies the singer once more on the sparse, skeletal вЂњYosemite.вЂќ What sets Chemtrails apart from its predecessor is a hint of lightness, the lilt in the drums driving вЂњTulsa Jesus Freak,вЂќ the swelling sweetness of вЂњWild at Heart,вЂќ the burst of harmony in the chorus of вЂњDark But Just a Game.вЂќ Rockwell was, in part, a musing on Golden State horror, haunted by serial killers, deceased rock stars, and вЂњbeautiful losers,вЂќ where our protagonistвЂ™s big dream is to escape the bustle of cities, to seek a quiet life with вЂњa kid and two cats in the yardвЂќ while the getting was still good. Again, Rockwell producer Jack Antonoff supplies delicate instrumentation and production, continuing to assist his pop collaborators in finding joy in stillness - as he did with Lorde on Melodrama and with Taylor Swift on the back-to-back tearjerkers folklore and evermore - while revealing restraint to be a more interesting aspect of his creative tool kit than the signature bluster of Bleachers, fun., and TaylorвЂ™s Reputation. The last albumвЂ™s skeleton crew returns for this monthвЂ™s latest, Chemtrails Over the Country Club. What she has lost in hit potential, she has recouped in craft 2019вЂ™s Norman Fucking Rockwell! was a staggering achievement. What remains is the moving melody and emotion that older songs like вЂњNational AnthemвЂќ used to drown in the thick arrangements and beats that kept her records in contention on pop charts and radio. What made the journey from Born to Die to here an intriguing one is how Lana Del Rey has whittled uncompromising, jarringly direct music out of the often overwrought melodrama of her earliest songs, leaving a little excess behind at each turn.

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ItвЂ™s going to conjure the nightmarish underside to the American dream itвЂ™s going to show how nostalgia favors the good, how memory fails us, how weird and terrible things always are, and how to rise above it all. ItвЂ™s going to be visualized through bleary Americana that almost seems to satirize the real thing, the way the unintentional вЂ™60s kitsch of Valley of the Dolls is weaponized in the gauche Russ Meyer sorta-remake Beyond the Valley of the Dolls. You could hazard a guess about what the new album will sound like and what the new video will look like before you ever press вЂњplay.вЂќ ItвЂ™s going to serve bleak, Nick CaveвЂ“ish chamber music, just sweet enough to render the darkness enticing. Where others may express growth by expanding outward, taking bigger risks by dabbling unexpectedly in different genres and mediums, Lana gets a little better at being Lana every year. Chemtrails Over the Country Club is no exception.ДЄs her pop-star peers reinvent themselves every other year, Lana Del Rey focuses on the refinement of her songwriting, sharpening one unique musical idea over time. Lana gets a little better at being Lana every year.

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