As with a lot of Del Rey’s music, Ultraviolence is a lot more complex than people first gave it credit for. “Money Power Glory” and “Fucked My Way Up To The Top” directly address the sexism Del Rey copped after the release of Born To Die, while “Ultraviolence” and “Cruel World” paint disturbing and unpleasant portraits of abusive, codependent relationships. A friend told me at the time that she wouldn’t listen to this record because she objected so strongly to that sentiment, which says a lot about that period of personal politics, considering how much Ultraviolence has to say about power and gender. It’s the polar opposite of Beyonce’s self-titled manifesto of feminist liberation released mere months prior Del Rey writes about women largely subject to the whims of violent and nasty men, going as far as to interpolate The Crystals’ “He Hit Me (And It Felt Like a Kiss)” on the title track. There is nothing wrong with having a vintage aesthetic, but if she wants to label her music as feminist, Del Rey must support inclusive and intersectional feminist values, as both an artist and a person.In 2014, releasing Ultraviolence was one of the greatest sins Del Rey could have committed. The new tone of Chemtrails Over the Country Club still maintains a somewhat outdated depiction of femininity. However, she remains a complex figure for young feminists. The majority of the tracks are melancholy or intimate. Del Rey maintains her characteristic vintage, slowed, and soft tone in vocals and instrumental accompaniment. Still, there is no denying the beauty of the new album. If she advocates for women who are submissive to be included in modern feminism, it is completely unethical to judge women for owning their sexuality, let alone target successful artists who lack her white privilege. While defending herself against allegations of glorifying abuse, she attacked several female artists of color for sexualizing themselves in their music. However, her credibility when it comes to conversations about feminism in music must be questioned. She argues that feminist ideals shouldn’t exclude women who don’t have the privilege to be empowered or assertive.ĭel Rey’s point is essential to the feminist movement, especially when it comes to helping women in the abusive circumstances she portrays in her music. When criticized for perpetuating sexist ideas, Del Rey has opposed this by saying that in modern feminism, a woman should have the right to choose to be submissive. The most well known example of this is from the song “Ultraviolence,” when she sings the lyric, “He hit me and it felt like a kiss.” Other songs’ lyrics tell stories of feeling insignificant without a man or being afraid to lose him. Previously: In a late night Instagram post on Thursday, Lana Del Rey announced that she plans to release a new album on September 5. Del Rey expresses a desire to disappear and return to her old life.ĭel Rey’s past albums have commonly focused on being passive or submissive, dependency on men, and physical violence. Moving forward in time, the songs “Wild at Heart,” “Dark But Just A Game,” and “Dance Till We Die” depict her struggles with fame and self-identity. The tracks “Chemtrails Over the Country Club” and “White Dress” illustrate stages of her past, about growing up in wealthy suburbia and later as a 19-year-old waitress, both expressing romance and nostalgia. The album tells her story partially in chronological order.
The hype began in mid-2011 with a stunning song and video for 'Video Games,' and it kept on rising, right up to her. Not coincidentally, she didnt lack for attention leading up to the release of her Interscope debut, Born to Die. Regardless of the intention, Chemtrails Over the Country Club focuses on Del Rey’s experience with fame and her desire to flee the public eye and its scrutiny. Lana Del Rey is a femme fatale with a smoky voice, a languorous image, and a modeling contract. Her recurring lyric, “No more candle in the wind,” even emphasizes her version of “empowerment” by declaring that she is no longer fragile. The decision to stray away from these topics could be intentional, as a preventative measure against further backlash, or a personal change in tone she was ready to make. In the new album, the themes of abuse and female disempowerment are much less apparent than in her older music. The album, Chemtrails Over the Country Club, has now been released, and despite its new change of subject, it is really not revolutionary. The title of the upcoming album was revealed back in May of 2020, but was overshadowed by this ongoing controversy. Some accuse her of romanticizing abuse, while others say her work is simply an artistic expression of the harsh realities women face. For much of her musical career, Lana Del Rey and her lyricism have again and again come under fire for sending out problematic messages.
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