Leaderboard

Lana Del Rey is Elizabeth Grant, the New York City-born musician who got her start playing Brooklyn’s underground club circuit. She is the scrappy singer who uploaded two homemade videos to the internet, only to watch her career explode in the aftermath. She is the self-described underdog, an oft-misunderstood purveyor of glamorous and traffic Americana, apocalypse and utopia, breathless romance and devastating isolation – often crashing into one another. She is the pop star who hasn’t had – or needed, really – her own top-40 hit since 2014, operating as she does on the outskirts of the mainstream. She is the outspoken lightning rod, who, whether or not you agree with the things she says, says them anyway. And she is, above all else, the songwriter who last year released ‘Norman Fucking Rockwell!’, her most clear-eyed artistic statement to date. At 35, Del Rey has tapped a new creative vein. Just one year after her last studio release, she has come out with a new poetry collection, ‘Violet Bent Backwards Over the Grass’, and her sixth album, ‘Chemtrails Over the Country Club’, is out this month. All of it has been in collaboration with the tireless super-producer JACK ANTONOFF, who, as evidenced in the following conversation, knows exactly who Lana Del Rey is. Jack Antonoff: Where are you? Lana Del Rey: I’m on the I-40 with 8 hours and 50 minutes left to get back to L.A. It’s been a long drive back from Oklahoma. Antonoff: I’m in New York and I’m going to work on music. Your music, actually. We have to finish this album. Del Rey: We’re incredibly close. Antonoff: Don’t you feel like this album kind of demanded to be made? It happened so quickly after ‘Norman’. Del Rey: I was thinking about how different it’s been making this one because of how much I’ve been distracted by poetry this year. Just when you think you know what you’re doing, something else pops up. Antonoff: Does writing poetry remind you of when you were younger and you said, “Okay, I’m a signer, I’m a songwriter”? Is it at all like reliving that first time when you took a stand and actually did the thing? Del Rey: Totally, but it’s also different, because the poems come to me fully formed. Having to stop and channel a 12-minute poem with its rhymes in-tact, it’s like, “Huh, okay, I don’t know if it’s good.” Antonoff: When you would send me them, they would always stop me dead in my tracks. Maybe I’d get one and be on a plane, or in a car, or walking down the street. It was like getting a dispatch from another universe. Del Rey: It kind of felt that way writing them. Antonoff: Do you feel like there was a looseness to making ‘Chemtrails Over the Country Club’? Del Rey: Not really. I’ve been really stressed about this album. From the top, we knew what ‘Norman’ was. But with ‘Chemtrails’, it was like, “Is this new folk? Oh, god, are we going country?” Now that it’s done, I feel really good about it, and I think a defining moment for this album will be “White Dress/Waitress.” Antonoff: What’s the story behind that song? Del Rey: We did that early on, and it started with you just playing the piano. We were at Jim Henson’s studio. Antonoff: Being watched over by a giant Kermit. Del Rey: Oh my god, I know. I loved that. What I like about that song is that for all of its weirdness, when you get to the end of it, you understand exactly what it’s about. I hate when I hear a song that has a great melody, but I have no idea what they’re talking about. In the grunge movement, a lot of the lyrics were super abstract, but the melodies and the tonality were such a vibe that you felt like you knew exactly what the singer was thinking. Nowadays, you get a beautiful melody but you don’t really know what the person is talking about, or if it’s even important to them. Antonoff: I feel like you’re on this very long path to breaking down everything until it’s at its most authentic. ‘Chemtrails’ feels like another breakdown on top of ‘Norman’, but what’s interesting is that it breaks down into different directions. Del Rey: The one thing that makes me upset is that f I hadn’t been so distracted with my personal life and my poetry, I could’ve broken it down in a more delicate, precise way. I guess the way I could’ve done that is just by adding one more defining song to it. Right now it’s really, really good, but I don’t know if it’s perfect, and that really bothers me. I think I need to add that song, ‘Dealer’, where I’m just screaming my head off. People don’t know what it sounds like when I yell. And I do yell. Antonoff: Will you talk about Joan Baez and your feelings about her? Del Rey: On the last tour, we went to Berkeley and I really wanted to do ‘Diamonds and Rust’ with Joan, and she was kind enough to accommodate me. Nobody necessarily wants to show up to do a giant show for 15,000 kids at Berkeley, but she told me that if I’d drive out 80 miles from Berkeley, then we could practice at her kitchen table, and if it was good, she would do it. So that’s what I did. She corrected me on all my harmonies, and by the end, it was great. Then we went out clubbing to this Afro-Caribbean two-step place and danced all night. She fucking outlasted me. Antonoff: On that last tour, you really put an emphasis on building a community. Artists are so isolated. People don’t realize that most of us don’t know each other. I love that you call people and say, “Hey, I’m going to be in your town. Do you want to come sing with me or have coffee?” Del Rey: You’re so funny, the way you always hit things spot-on. Antonoff: Don’t you feel that way? Like there’s an imaginary club, but it’s not real and you almost feel sad because you wish it was? Del Rey: That’s especially true when you’re an alternative artist, and you’re not collabbing or making nightclub appearances. You’re either in your room or you’re with your producer. The best thing I ever did was tour the Midwest. I got to know Weyes Blood and Hamilton Leithauser. Devendra Banhart was texting me. I found my heart and I was super happy there. I’m driving back from there now and I didn’t want to leave. Antonoff: Do you feel like you’re ever going to leave L.A.? Del Rey: I guess I can’t because I have all the animals and I have my family. I don’t know if I’ll do this drive again in a hot minute. The fact that you can be in Kansas in two hours by plane is amazing. Antonoff: With ‘Violet Bent Backwards Over the Grass’, I feel like you’re mourning a piece of L.A., sometimes literally, sometimes in feeling and tone. Then, couples with ‘Chemtrails’, it’s like you’re starting to talk about all these new places and slowly planting little flags and creating little emotional homes in other parts of America. Obviously I’m here for it, but it does make me wonder if we’re going to be making records is Tucson or Tulsa next year. Del Rey: It’s funny, the record was Midwestern-sounding before I even went to the Midwest. What’s interesting about having a true muse – and it sounds kind of ridiculous – is that you’re at the whim of it. When I’m singing about Arkansas, even I’m wondering why. The one way I would describe the Midwest, Oklahoma in particular, is that it’s not cooked or oversaturated, and there’s still space to catch that white lightning. Antonoff: That’s why I love Jersey so much. It gives you space to get bored out of your mind, and if you let yourself get bored, you might just think of something great. Del Rey: One hundred percent. Antonoff: Before I met you, I thought you’d be the opposite of what you are. I’m trying to think of the best way to describe it. Del Rey: You were probably surprised that I actually write. I guess that’s how I would describe it: I really write. Poems and music. Sometimes I miss the mark, but I know what I’m going for. That’s why I really like hip-hop. Antonoff: I remember you listening to some of the hardest stuff in the room. I think the best part of really feeling something that someone else does is that it inspires you not to mimic them, but to do you. With ‘Chemtrails’, do you feel like you’re revisiting the past? Del Rey: Not so much where I’ve been, but more like where I’m going. It makes me anxious listening to it, because I know it’s going to be a hard road to get to where I want to be, to do what I want to do. A lot of that’s going to involve writing classes and being uncomfortable in new places with not many friends and raising my dogs and my cats and my chickens alone. It’s going to be work. I hear ‘Chemtrails’ and I think “work,” but I also think of my stunning girlfriends, who so much of the album is about, and my beautiful siblings. ‘Chemtrails’ is the title track because it mentions them all and it mentions wanting so much to be normal and realizing that when you have an overactive, eccentric mind, a record like ‘Chemtrails’ is just what you’re going to get. Antonoff: So many people bring a confidence to the table that is actually destructive to the work. Del Rey: And yet, that’s often not true. I know some women who put on a real front. The one thing I have to learn from other people is how to be happy, and everyone has different ideas about how to do that and how to keep a lightness in the songs. The one thing that I know that I can do regardless of where I’m at in my process is make a beautiful melody. I don’t really care if you mush an amazing life story into an alternative record. If the melodies don’t stun me, I kind of don’t care. I think it’s interesting if you’re yelling and shouting and talking about where you’re going and what it’s been like, but to me that’s not a record. That’s a therapy session. Antonoff: You could have a great idea for something, but if you can’t find a beautiful melody, then maybe it’s just a podcast. Del Rey: And that’s where the poetry comes in. It’s a diary you should read for Audible or something. Antonoff: Do you know what my favorite line in ‘Violet’ is? You say this things about how you can go to the beach with your girlfriends and they don’t know that you’re crazy. You say, “I can do that.” There’s something about that line that gives me a sense of freedom, like it’s a mantra for artists in general, or people who don’t feel like they’re living the same experience as other people. When I hear you say it, I immediately think to myself, “Maybe I should just go shopping for shirts, or get a new vacuum and spend two hours zipping around my house.” It’s almost like you’ve given this call to artists: “Just do these things and no one has to know you’re crazy.” I think that’s the deeper story behind both ‘Norman’ and ‘Chemtrails’. If I had to find the thread, it’s this person who’s trying to do things like everyone else does them, but not pretending to be everyone else. Do you feel like the people in your life know every inch of you? Del Rey: They do. Every ex I have, every girlfriend I have, every family member I have, even the ones I don’t speak to – they know the ins and outs of why I sometimes catch sheer panic out of nowhere. I can even say to some of them, “It’s related to you. You fucked me over.” Antonoff: Do you say that? Del Rey: Yeah, I’ll say, “Today was a bad day and it’s because of you, and I don’t even know you anymore.” I don’t necessarily think there’s much value in doing that – it’s just what’s true. I don’t ever feel bad for saying to someone, “I’m having a panic attack because of what you’ve done.” That’s black-belt life, like 3.0. What’s insane is that the pandemic has brought up all of these mental health crises and domestic crises that were always there, that I always sang about, that people had so much to say about in terms of, “She’s just feigning emotional fragility.” And it’s like, “Well, not really. You’re feigning emotional togetherness despite the fact that you’re a wack-job Monday through Friday.” Antonoff: “A wack-job Monday through Friday” is very good. I think the pandemic has done this weird thing – it’s not necessarily interesting what you choose to do with your time when life is taken away, when you can’t go outside. It’s interesting what you choose to do with your time when everyone’s outside having a good time and you choose to shut yourself away and write. Del Rey: Right. Antonoff: Do you feel like you’re doing okay because you’re sort of always in touch with some sort of underbelly? Del Rey: I don’t feel like I’m doing okay. I just know now that I was always right. Antonoff: That’s interesting. Del Rey: I subscribe to the idea that what’s going on in the macrocosm, whether it be in the presidency or a virus that keeps us isolated, is a reflection of what’s going on in the individual home and inside bedrooms and what people intimately talk about. I think there’s been existential panic for a long time, but people haven’t been paying attention to it because they’ve been too busy buying shoes. And shoes are cute. I love shoes. But now that you can’t go shopping, you have to look at your partner and be like, “I’ve lived with you for 20 years, but do I even know you?” You realize maybe you’ve only every allowed yourself to scratch the surface of yourself because if you went any deeper, you might have a mild meltdown for no reason, just out of the blue, and no amount of talking could explain why. It’s just a part of your genetic makeup. You could just be prone to panic. I think a lot of people are that way. I got a lot of shit for not only talking about it, but talking about lots of other things for a super long time. I don’t feel justified in it, because I’m not the kind of artists who’s ever going to get justified. I will die an underdog and that’s cool with me. But I was right to ask, “Why are we here? Where did we come from? What are we doing? What happens if this insane, crazy, sci-fi crisis happens, and then you’re stuck with yourself, and you’re stuck with your partner who doesn’t pay attention to you?” I’m not saying it’s more relevant than ever, but my concern for myself, the country, the world – I knew we weren’t prepared for something like this, mentally. I also think it’s a really good thing that we’ve gotten to this point where we have to bump up against ourselves, because it’s not going to be the same when the Beverly Center reopens. Antonoff: It won’t be and it shouldn’t be. I agree with you in that we can’t go back and we shouldn’t go back. To me, the positive side of it is, “Okay, the furure’s here.” Del Rey: With Y2K, it was like, “The future is here.” No, it wasn’t. But the future sure is here now! Antonoff: It’s a real test of our emotional resilience. If we can get this right culturally, we can open up a few decades of the greatest music and the greatest dance and the greatest theater and the greatest human interaction. Del Rey: I agree. Antonoff: If we get it wrong, I think it’s over. Del Rey: There’s no way we’re going to get it wrong. We’re really on the right path. The #MeToo movement was not just a passing movement. Black Lives Matter, no way in hell that’s going away. People talking out about mental health, there’s no way they’re not going to seek even more genetic testing to find out what they’re predisposed to. All the scariness and worriedness and disappointment at the same time is like being in a big rocket that is shooting us into a new emotional place, and we’re going to come out of it and be like, “I don’t want to go shopping. I need to go talk to somebody about something.” Antonoff: That’s exactly my feeling. Last year, no one was talking about the park and no one was talking about the movie theater and no one was talking about just going for a walk. Everything was about Netflix and chill and getting stuff delivered – we were so obsessed with all the spoils of the future. But no one gives a shit about that anymore. We just want to be around each other. Del Rey: I also think we want to know who we’re around. Antonoff: And why we’re around them. Del Rey: I’m not trying to say I’m a holy roller because I’m not, but I think people are looking up to the sky a bit more and being like, “Why? What’s the reason?” Antonoff: One of the reasons I like you is that you know everything that’s going on and you don’t give a shit. I like that because I think it’s fun to know what’s going on. Del Rey: You and I are exactly the same. We know everything that’s going on and we have no fucking clue how we know it. It’s not like we’re ever asking anyone for gossip. Antonoff: I feel like I make breakfast, make music, talk to my family and hang out, but somehow I know every bit of weird gossip, from important political issues to which reality-TV star ate out of a dumpster. I’m so hip to all this weird knowledge, I don’t know how it gets in my head. Del Rey: When I was in college at Fordham, I would pass newsstands and see headlines on my way back to campus, and I somehow always also knew, without even wanting to, what was going on, and who everyone was. Sometimes I’ll go into a gas station on Route 66, mask on, glasses on, yada, yada, and the teller will be like, “Oh my gosh, you’re that singer!” And I’m like, “What the hell? How did you even recognize me?” Antonoff: You hang out a lot in freaky places, places where no one would expect to see you. If someone were going to L.A. to try to run into you, they never could. I always call you and you’re, like, at a garden center, ‘round the back, trying new concoctions of this new plant. Or you’re making a new blend of iced tea with a friend in Malibu. If someone was like, “Where is Lana right now and what is she doing?” I could write a comedic essay about it. It’s always shocking to me. You’re really a citizen of the universe. Del Rey: You’ve got to get into the grind. I’m always on the grind. I’m at a weird bar, a weird dance club. I’m in Oklahoma. I’m at a meeting on Skid Row. I just want to know. I want to know what’s up. Source: Interview Magazine

So her persona for 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

3 DAYS AND 4 MIDNIGHTS

If Neil Krug and BRTHR collaborated together on the cover, taken on set of the 'Chemtrails' video on August 29, 2020.

Not the best but I tried to make my own version of COCC. A lot of ya'll want a textless cover so I decided not to put any text on it Large:

Manifesting...

Describe yourself in three words. 2008: Confused, floral, and.. ah.. odd? 2020: Normal, playful, and.. ah.. curious!

I messaged Ed an hour ago and told him to not say anything if we are getting cocc on the 4th/5th and he hasn’t replied so 4th/5th release date confirmed ladies

Amber-gold vinyl concept by me! I also made a tracklist to go along with it: 1. Love Under Stars and the Sometimes Moon 2. Chemtrails Over the Country Club 3. White Hot Forever 4. Tulsa Jesus Freak 5. Chevy Gold on Route 66 6. Woodworker 7. Grenadine Quarantine 8. Better Lost Than Never Loved At All 9. Diana 10. Take the Sadness Out of Saturday Night 11. Contemplating at Costco the Santa Clarita Fires 12. If This is the End...I Want a Boyfriend 13. Faith Can Only Get the Fragile So Far 14. Let Me Love You Like a Woman

I still think the album is coming on the 4th/5th. It’s a long post, but it’s worth it. Here’s why; a) She never posts this frequently - she’s been posting on average 4-5 times a week since the beginning of this month! I can’t recall her ever doing that unless we were close to an album. b) Ed said the album isn’t finished. Well, she has to have finished mixing since at least July 25th, according to the ATRL insider, as they said the album is being mastered right now, and we know that an album is mastered by someone else besides Lana, Jack, and Laura (maybe Chris Gehringer, as we’ve all heard about). This could be right up until the last minute, so that the album can only be released digitally in September, and then by December, vinyls will be available. c) Ed also could have been just saying that the album isn’t done to avoid any potential leakage as the insiders who claim to have access to the album‘s contents have so far been respectful to Lana in not sharing any actual music and they want to keep it that way. It’s likely that Ben and Ed are keeping quiet about the album because with Love leaking in early 2017, it was due to it being in a lot of people’s hands - I think it was as early as August 2016 (!!) that people had screen caps from the video, and a trader had the demo the month it was recorded (April 2016). We know how Lana and her managers feel about leaks - they suck - and rightfully so. I could imagine that denying the album being finished is to prevent even having any damage to control. d) As for that review on the “What’s On” website, it’s not uncommon for some publications to listen to an album before it is available to the general public. The other articles by that author don’t seem as unprofessional/suspicious as the Chemtrails review, but I’m still taking it with a huge grain of salt. It could be that the article was just uploaded early because it was a clerical error or a glitch, but the fact that the article repeatedly calls it “Chemtrails over a country club” leads me to believe otherwise. It does seem strange though, that that article is by the same author who has written otherwise coherent pieces. e) If the album was delayed, we would have known by now. This situation is unlike LFL or NFR’s release date confusions, as all those dates came from other sources and the actual ones were confirmed by Lana herself. For LFL, the May 26th date that was thrown around was disputed by Paris Match Magazine, when it published Lana’s feature with the July 21st date in May 2017. Lana then went to Twitter to confirm this with the legendary “July 21st fam” tweet. With NFR, the March 29th date came out of a bunch of other sources, and before anyone says Lana is at fault for saying it would be released “at the top of the year,” I wouldn’t hold her accountable for saying something when casually asked by Zane Lowe in a pretty friendly and informal interview. Same with Violet, as Chuck was unfortunately robbed and I’m sure she didn’t anticipate getting a book deal/spoken word deal with Simon & Schuster at the time. With Ultraviolence, even, a paparazzi asked her the date as she was leaving the club (LOL), and she said May 1st, but then later confirmed on social media that it could come in June. The June 13/17th dates, July 21st, and August 30th dates came from her social media - much like the September 5th date did. If it’s in a written record where she is announcing things unprovoked (unlike a casual interview or being asked on the spot etc.) then I think that gives her the accountability that was/is missing when she’s asked by others and responds pretty casually. This was a different situation all-around! Just my two cents; even if the album doesn’t come in September, then, oh well but I have hope - and I hope this gave you some too!

Her albums are all autobiographical undoubtedly, but I feel that this one will be her most personal, raw, and unfiltered work yet - and I’m so grateful that she is willing to share these more intricate and complex fruits of the labour that is her thought process! I really imagine that this, coupled with Behind the Iron Gates, will really see us get to know a deeper part of Lana that she hasn’t necessarily shared publicly in her work. I think part of it is to do with age and where her perspective is at the moment in regards to that, but also her willingness to elaborate on some of the more formative events in her life that have shaped her into who she is today. I am so excited and I think this will be her best album yet!

made this right now and I'm really dreaming with a cover like this with the pre-order link

Good afternoon, y'all!

Question for the Chemtrails Over the Country Club Pre-Release Thread: Now that #TeamCocctober has had number ones with posts about being intelligent, being correct in their evaluations, etc - can we please go back to writing posts about being excited , feeling hopeful by waiting for this record even if the rollout is not perfect, or spending too much money on magazines and poetry books - or whatever we want - without being crucified or saying that we’re being delusional?????? I’m fed up with LanaBoards members and supporters saying that we’re delusional when in reality we’re just positive people writing about our hopes for Lana Del Rey’s upcoming record of what we are all now seeing as very prevalent emotionally-introspective speculations all over the forum. With all of the theories people are conceptualizing on this thread I just want to say that over the last 5 months I think it’s pathetic that our minor speculative exploration detailing our sometimes incorrect evaluations has often made people say that we’re delusional and setting the forum back months. Let this be clear, we’re not not realistic - but there has to be a place on LanaBoards for people who look and act like us - the kind of people who have hope and optimism regarding the music and artistry - the kind of people who are slated mercilessly for being their authentic, imaginative selves, the kind of people who get their own stories and theories taken away from them by self-identifying superior members or by members who hate extreme speculation. We’ve been honest and optimistic about the challenging waiting periods we’ve had. News flash! 🌩 That’s just how it is for many people. And that was sadly our experience up until the point that Lana Del Rey’s records were made. So I just want to say that’s it’s been a long 5 months of bullshit replies up until recently and we’ve learned a lot from them but we also feel it really paved the way for other people to stop “raining on other people’s parade” and to just be able to write whatever the hell they wanted to say on their forum - unlike our experience where if we even expressed a note of thought in the first 5 months of waiting we were deemed literally delusional as though it was literally 2019. Anyways none of this has anything to do about much but we’ll be detailing some of our theories in the next two pre-release threads on LanaBoards (mostly this one). Yes, we’re still conceptualizing album covers and vinyl concepts with our choice of visuals, which we’re very happy about. And I’m sure there will be tinges of what we’re pondering in the Chemtrails Over the Country Club post-release thread that comes out October 30th. Thanks for reading Happy quarantining

To accompany her September 2020 Interview cover, and in anticipation of her seventh studio album “Chemtrails Over the Country Club,” Charlie Grant shoots an intimate home video of his six-time Grammy-nominated pop star sister Lana Del Rey. You thought I was rich, and I am, but not how you think. Fuck, think. I live in a Tudor house in Mar Vista below the freeway, three miles from the beach. Fucking asshole. Or at least, we used to before you fucking left! *giggle* Anyway. *sigh* Why can’t it just be magic all the time? I think it definitely can be. I think if you surround yourself with the right people, everything’s magic. But, I also believe boundaries create miracles, so stay away from the beauty stealers. Do you think Americans have good taste? I think they absolutely did have good taste, and.. I mean, I’m on the cover of Interview, so… *giggle* Alright. Do you keep a diary? I have so many diaries. If they were ever found, all of my boyfriends would absolutely be in prison. Yes, many diaries, journaling all day. When do you get nervous? Me? Oh, I’m never nervous, no. No. Yeah, no, fully confident. *giggle* Crazy? Me? No. I mean, look at, we're at a magazine shoot, swear it’s ridiculous. Is this the right light? I mean, I would absolutely describe myself as normal. Yeah. Yeah, by any means. I would say, if I had to describe myself in three words, I would say normal, playful, and… ah… curious! So, nothing in common with these people. I mean it’s really, it’s really sad honestly. It’s not like I’ve been in a facility for 90 days already. Ridiculous. Not my story. Can you still see the diamonds? *giggle* Showers or baths? Baths. Definitely baths. But, with my cats. It’s different being extraordinary, it’s hard to be eclectic, Niko! But, if your mother gets used to it, so must you, my only children. That’s right. Nikki, no, don’t be a difficult child! *cat meows* *giggle* *kiss* I love you so much. I regret ever being scared. If I could go back, I would tell myself there’s nothing to be afraid of and absolutely nothing happens by accident in God’s world, I guess. They say that madness swings to genius. Mel? Doesn’t it? "Oh yeah. Without the highs, you can’t have the lows."

three days and four midnights have passed. you get online and there's a new video on lana's channel - no title. you press play. "sylvia..."

I get excited anytime Lana remembers that she released a record called Honeymoon

To everyone whose worried about the styling of the music and how it sounds... Lizzy did NOT grow her hair out into a blonde mane, get long red nails, pull out her lace white woman gloves, AND her pearls and fancy earrings to give us something slow and folk. She did NOT dry clean the BTD shirt that has been sitting in her closet since 2012 to serve us sleep. No, don’t sell her so short ladies. She would not get this dressed up if it were a slow album, I mean look at NFR and how DIY it was and we were served a great album with diversity.

I really hate that y'all are so talented at Photoshop or drawing and stuff while I be like...

I really want some country-roads, gritty, road-trip-on Route 66 aesthetics so I made this back cover, inspired by the gorgeous cover @normanrockweII made, with a bit of a Bruce Springsteen/Johnny Cash influence!

I made another album cover (yet again! LOL) - heavily inspired by the NFR cover. I edited her look to match the way she looked in the video of the Tulsa Jesus Freak snippet!

Imagine Lana posted a video of her reading "Past the Bushes Cyprus Thriving" and at first we're all like Ugh not another poem, but then when she says "like a chemtrail" she stops and stares at the camera intensely and then the music starts to get super wild and it merges into the Chemtrails album trailer and blows all our minds.

Shameless promo...

She was definitely being sarcastic and I think that's the theme of this era, how we're pretending everything's fine when the world is falling apart type of vibe

I'm obsessed with Lana's high notes, like her opera sounding high notes, the whale noises... they're so haunting and eery. I really want her to serve some stargirl vocals or some creepy church choir vocals like the ones she did at the end of i talk to jesus. I still can't believe those are her real vocals btw, i feel like we don't talk about it enough, like that's insane, she sounds so... unreal. Like honestly a proffesional opera singer or something with those notes, her range is unbelievable. She may be the best vocalist I've ever heard, name an artist that can go as low as born to die and as high as stargirl/i talk to jesus .... fuck fuck fuck

Imagine we think she's just belting on Dealer and she's actually just fr screaming, like no lyrics just ARGHHHHHHHHHHHHHH AHHHHHHHHHHH

This might be my delusion talking but I'm 99% sure that COTCC is coming this week. She's been working on this for OVER A YEAR. She first talked about it in August 2019. She sounded super confident about her new record being released on September 5th when she talked about it in May. She was in contact with Jack right after her "Question for the culture" Instagram post (meaning the whole drama surrounding the post definitely did not delay her time focusing on the music) Her manager did post FOUR WEEKS ago that it's coming """"soon"""". Soon could be this week. (IT'S COMING YOU LITTLE BITCHES) She's been shooting a music video and possibly an album trailer all weekend. She's being super secretive, has only posted one selective snippet so far. She wants this to be the surprise she promised it would be. COTCC IS COMING FRIDAY/SATURDAY WE WON

The way this site will not survive September 5th regardless of what happens....

The way Ed thinks we’re gullible enough to believe he’s saying the truth and isn’t trying to throw us off so the surprise drop will actually be a surprise lol nice try COCC coming September 4th and the preorder’s coming this week yupp

Lanaboards user @veinsineon just updated their profile picture AND cover photo to pictures of Chemtrails!! Could it be a reference that they are involved in Lana's album??

People manifesting december release? Are yall ok?

so the album will be satirical and eccentric and glamourous and allegorical? so we won?

the way the entire album is finished and mastered sitting in jacks laptop being neglected

Album Cycle Recap! August 30, 2019 - Lana announces White Hot Forever; says she has already written parts of it and may surprise-release it in the next 12-13 months October 18, 2019 - Lana mentions "Let Me Love You Like a Woman" to Q Magazine; says she feels like it will be really important and the fact that she doesn't know why yet is where the magic comes in. December 16, 2019 - Lana on set of a music video in Beverly Hills with Chuck Grant, Charlie Grant, and Craig Stark; is in a pink/purple floral sundress and a blue convertible. January 22, 2020 - Lana in studio with Jack Antonoff May 21, 2020 - Lana announces her new record will be out September 5th in her famous "Question for the Culture" post May 25, 2020 - Lana announces her new record, titled Chemtrails Over the Country Club is special in a video defending her comments on double standards in the music industry. July 2020 - source code in her website mentions that Chemtrails Over the Country Club can be pre-ordered July 22, 2020 - Lana captions a series of videos/selfies "Tulsa Jesus Freak:White Hot Forever" July 25, 2020 - an insider on ATRL confirms "Let Me Love You Like a Woman", comparing it to Fine China with an NFR! touch and that the album is in the process of being mastered July 28-31 2020 - Lana on set at home with Chuck Grant, Charlie Grant, Sheridan Ward, and Etienne Ortega; filmed several poetry recitation videos for Violet Bent Backwards Over the Grass, had a photoshoot, and likely filmed a music video for "Tulsa Jesus Freak" August 6, 2020 - Lana posts a snippet of "Tulsa Jesus Freak" - it has since been archived August 7, 2020 - Lana, Sheridan Ward, Etienne Ortega and a photographer/director shooting something at the Eric Lloyd Wright house in Malibu August 29 & 30, 2020 - Lana on set of a music video with Chuck Grant, Charlie Grant, Sheridan Ward, Byron Thomas, Blake Stranathan, Tom Marsh, Etienne Ortega, Alli Elizabeth, Seana Crain, Neil Krug, and director BRTHR. September 1, 2020 - Lana posts to Instagram a quick update on set of her upcoming music video and confirms that "Let Me Love You Like a Woman" will be released before the aforementioned video that she confirms is for the title track, and likely, the album.

notice how lana is working today again and @lanadelrey is gone again. coincidence?

REVELATION POST INCOMING/REALLY IMPORTANT THEORY so please hear me out; Maybe her releasing the album on a Saturday wasn't a miscommunication, but rather an act of rebellion - and symbolic in the sense that it is redemption for Saturday Night Live in 2012, which can be coupled with her Question for the Culture post. Also, with the album's strategic release date being redemptive of SNL, it also ties in with Tulsa Jesus Freak when we interpret redemption as a biblical thing. Also note Jack tweeting variants of "take the sadness out of Saturday night" - teasing Lana lyrics that deal with her feelings regarding the whole SNL debacle and its unfortunate attribution to her image early on in her career? The decision to release the album on a Saturday would be really clever on her part for the aforementioned reasons. Sheridan said "3 days and 4 midnights to go" - maybe that means one thing is coming once 3 days have passed (August 26, 27, 28) and once 4 midnights have occurred (August 26, 27, 28, 29). The album could be coming on Saturday, August 29th then. Sheridan's post made it seem like it was a surprise planned with his use of emojis - what better surprise than an album that Lana said she wanted to release as a surprise! It would also line up with NFR's 1 year anniversary and then qualify for the 2021 Grammy's, which could also be Lana's way of saying that no matter what kind of album she releases, her music is of a very high calibre, which again, relates back to the Question for the Culture. Call me delusional (which I probably am), but we know Lana Del Rey loves a good full-circle, super metacognitive and metaphorical moment - well, this could be it!

she could literally tweet that the album is cancelled and we would be like "omg yas kween ty for tricking us so well. clearly its coming tomorrow. manifesting."

Violet's Ass Bending The Grass is messing with two Lana's albums' releases in a row now

cocc coming september 5th!

We say this a lot of the time with every album but with this one it really is raw as hell? She does sound angry and like she’s realizing the true chameleon soul she never got to dig around for in the past. God this album is gonna be fucking amazing.

September 3, 2020 - Lana releases LMLYLAW along with the news that COCC will drop at midnight. September 4, 2020 - COCC day

every single day i wake up and put on my silly little clothes and brush my silly little teeth and open up my silly little macbook and log onto lanaboards dot com and i read this thread with my silly little expectations and silly little hopes and every single time the voice in my head says "ha ha you dumb whore of course there's no news" and i get embarrassed and hate myself all day

anyways.. album coming sept 5th

let’s not manifest this

I have a customer yelling at me on the other tab but i dont care because cocc is coming CONFIRMED lets party ladies!!!

On Monday they destroyed me But by Friday I'm revived

who cares if the screenshot's real or not COCC coming September 4th!