Lana Del Rey doesn't do "normal" follow-ups. After the massive, career-defining success of Norman Fucking Rockwell!, everyone expected her to keep that same energy. They wanted more psych-rock guitar solos and more biting indictments of the American Dream. Instead? We got a record about waitressing in Orlando and hanging out with sisters.
Honestly, Chemtrails Over the Country Club felt like a hard left turn into a gravel driveway.
It’s an album that trades the "big" Hollywood sound for something far more fragile. Think acoustic guitars, hushed vocals, and a weird obsession with the Midwest. When it dropped in March 2021, the vibe was... complicated. Between the "mesh mask" drama and her infamous Instagram comments, the music almost got buried under the noise. But if you actually listen to it now, away from the 2021 chaos, it’s arguably her most honest work.
What Really Happened with Chemtrails Over the Country Club?
The title itself sounds like a conspiracy theory. You’ve probably heard people joke about chemtrails—those white lines planes leave in the sky—being chemicals meant to control the population. Lana uses it as a metaphor for the "dirt" hidden under a polished, suburban surface.
She’s hanging out at the country club, but she’s looking up at the sky and seeing something ominous. It’s that classic Lana tension. You’re in your jewels in the swimming pool, but you’re also "contemplating God."
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The Shift from LA to the Heartland
For years, Lana was the queen of California. But with this record, she packed her bags. We see her name-dropping places like:
- Tulsa, Oklahoma (home of the "Tulsa Jesus Freak")
- Arkansas
- Nebraska
- Orlando, Florida
It’s a "flyover country" record. Co-produced with Jack Antonoff, the sound is stripped back to almost nothing. On a track like "White Dress," she pushes her voice into this strained, breathy falsetto that sounds like it’s about to break. She’s singing about being nineteen and waitressing at a "Men in Music Business Conference." It’s unpolished. It’s raw. It’s definitely not the "Summertime Sadness" Lana most people know.
The Cover Art Controversy That Won't Die
You can't talk about this album without mentioning the cover. It’s a black-and-white photo of Lana and her friends crowded around a table. Looks innocent, right? Not in 2021.
People immediately jumped on her for a perceived lack of diversity. Lana, being Lana, didn't just ignore it. She posted a long, defensive comment on Instagram that basically became a meme. She mentioned that her "best friends are rappers" and that she’s "literally changing the world." It was a mess.
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But looking back, the cover was meant to signal a shift toward female friendship. The album isn't about toxic boyfriends as much as it is about the women who keep her sane. Songs like "Chemtrails Over the Country Club" and "Dance Till We Die" are love letters to her sister, Chuck, and her "stunning girlfriends."
Why "White Dress" Is the Secret Weapon
If you only listen to one song, make it the opener. "White Dress" is weird. Like, truly weird.
The way she crams the words "Men in Music Business Conference" into a melody that shouldn't fit is kind of genius. It’s a stream-of-consciousness poem about a time before she was famous. She sounds nostalgic for being a nobody. There’s a line where she says she felt "seen" even back then. It’s a total subversion of the "fame is everything" narrative she played with on Born to Die.
The Folk Roots and Joni Mitchell
By the time you get to the end of the tracklist, the album has fully transitioned into a folk record. She even covers Joni Mitchell’s "For Free" with Zella Day and Weyes Blood.
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It’s not just a cover; it’s a statement. By aligning herself with Joni and Joan Baez (who she mentions in "Dance Till We Die"), she’s trying to secure her spot in the pantheon of great American songwriters. She’s moving away from "pop star" and toward "folk legend."
Breaking Down the Sound: A Quick Guide
- Tulsa Jesus Freak: Heavy autotune meets a "staying sober" narrative. It’s the closest thing to a "trap" beat on the album, but it’s still very muted.
- Dark But Just A Game: This one feels like a warning. It’s about how fame ruins people—the "best ones lost their minds." It has a trip-hop vibe that feels very 90s.
- Yosemite: Actually a leftover from the Lust for Life era. It’s a slow-burner about a love that doesn't change through the seasons. It’s the most stable she’s ever sounded.
- Breaking Up Slowly: A country duet with Nikki Lane. It’s gritty and references Tammy Wynette. Very "whiskey and regret" vibes.
How to Actually Experience This Album
If you want to "get" it, don't listen to it on your phone speakers while doing the dishes. It’s too quiet for that. This is a "headphones in the dark" or "driving through a rural area at sunset" kind of record.
Actionable Insights for Fans and Listeners
- Listen for the "NFR" Samples: In "Wild at Heart," she samples the drums and melodies from "How to Disappear" and "Love Song." It’s like she’s recycling her own history to create something new.
- Watch the Music Video: The title track's video starts as a 60s glamour dream and ends with her and her friends turning into werewolves. It’s a perfect metaphor for her "wild" nature hiding behind a "country club" exterior.
- Compare to Blue Banisters: If you like the storytelling here, jump straight to her next album, Blue Banisters. They’re like sister records—one is about the world, the other is about her family.
Lana Del Rey’s Chemtrails Over the Country Club might not have the "bangers" people wanted. But it has something better: a sense of peace. She’s not trying to prove she’s a star anymore. She’s just a woman in a bar, telling you her star sign (she’s a Cancer, by the way) and singing about the things that actually last.
To really understand the "Lanaverse," you have to spend time in the suburbs of this record. It’s where the mask—mesh or not—finally starts to slip.
Check out the official music video for the title track to see the "werewolf" transformation for yourself; it’s the best way to visualize the shift from the "Country Club" persona to her actual "Wild" self.