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omg i forgot patreon existed 🙃

hell i would even pay for something like this, even like a substack newsletter where subscribers have to pay a monthly fee. it would be so cool

i really don’t understand why most artists don’t just share this information themselves, people really do genuinely care about it and it can extend the life of an album cycle drastically. like imagine an artist doing a little newsletter thing where they send an essay per month on how 1 song from the album came to be and attach pictures from making it, mention specific writing and recording dates, share downloads to a few demos, etc etc. i don’t know if they just don’t care to or don’t realize how many fans are interested in hearing about the creative process

when did Eclipse say that we’ve been able to find the entire track list online since November? i don’t recall that, i only recall BOZ saying we should be able to find Candy Necklace, and @hotshot2am did. but before i continue clowning trying to find the whole track list i want to make sure that was actually said 💀

only 13 hours until the album is out in NZ 😭😭😭

the way i think the complete opposite 😭😭 especially in the chorus, idk the quieter vocals + larger stereo width for the vocals in the album version make it a lot more dreamy and atmospheric for me than the Rob mix but yeah it’s very subjective. i’m glad we have both!

most notable differences are • the drums in the single version have less high end (or sound more “muffled”), it’s most obvious right at the beginning • the guitars, specifically the riff that transitions into the chorus, is a bit quieter in the single version (and is super panned to the right which is kind of weird) • her vocals in the chorus of the single mix are more mono and louder than the album mix • sounds like there is slightly less reverb on some elements, i can’t pinpoint exactly which ones though, in the single mix than the album version

what’s surprised me today is learning how easily these songs can be obtained simply because of impersonation, granted idk how 111 got his hands on the invoice with the song titles on it in the first place, but idk you would think there would be more careful identification confirmation while working with an artist as big as lana who already had a notoriously huge leak history previously at the time. i’ve heard of impersonation being a way of getting unreleased material from collaborators in the past, but i honestly dismissed it because i didn’t believe industry names as established as patrick warren would fall for stuff like that lowkey concerning

i really want to see those emails LMFAOOOO i’m sure they’re hilarious 😭

i’m sorry i’m the #1 West Coast Rob Orton mix hater though, he did a great job on the other songs he did for UV but his WC mix is just not good at least compared to the album version 😭 the guitars aren’t loud enough, her vocals in the chorus are muddy and too loud it gets rid of the dreamy quality the Dan/Collin mix has, the drums have way too much low end i can go on oh my god i hate that version sorry moving on

a very simple example of mixing is like, if a vocal track is too loud, turning it down so it doesn’t awkwardly stick out in the song. more intricately though it’s EQing stuff so there’s not any weird frequencies, compression so if a singer is singing quietly at one part and the belting in another it doesn’t kill your ear drums, comping vocal tracks and using the best parts from multiple takes, etc etc it can get very tedious and redundant and annoying 😭 mixing engineers deserve as much credit as producers tbh

mixing is putting all of the tracks together and… mixing them together so they sound good lol. sometimes mixing also includes adding reverb, effects, etc, but that’s also a part of production in other cases, it depends on who’s mixing and who’s producing. mastering is making sure the dynamics are up to industry standard for streaming and physical copies, so songs aren’t super quiet compared to other songs, there is some other stuff to mastering too but i don’t really understand it lol. there was some confusion earlier today about why Yosemite is mastered by Chris Gehringer instead of Adam Ayan if it’s from 2016, and yeah, it’s because mastering is really only necessary when you’re officially releasing a song

West Coast is properly mixed lol, Dan just mixed it himself with Collin, which is why the single version (Rob Orton mix) is different than the album version, it was still being mixed properly and wasn’t completely ready yet when it was time to release the single

didn’t Eclipse and Lana have a multiple-hours long twitter DM conversation in like December 2016

Pretty When You Cry Dan Auerbach demo, Guns and Roses Dan Auerbach demo, Shades of Cool November 2013 demo, Cruel World Electric Lady demo

don’t forget Pink Champagne

knowing that all of the song titles are sitting in the ACR database rn somewhere

in b4 cali’s hot is from Ocean Blvd

oh god does this mean the “Cali’s hot” snippet is actually something else because that snippet kinda sounds pretty polished

We need a zip for Christmas 2023 with Your Girl (Unedited), Fine China (Unedited), and Yes to Heaven (Unedited)

My theory on the Paul Epworth thing is that after Paul didn’t want to touch any of the songs Dan A did, the label still wanted him to do something for the album, so that’s when Lana gave him Black Beauty to re-work

in the last 24 hours i’ve gone from: Leak Fine China Auerbach Version -> Leak Fine China lossless/320kbps -> Leak the actual version of Fine China

really hope this means i can be optimistic now that since people had the unedited versions of those songs, they have the unedited versions of the other 3 and them leaking one day isn’t completely off the table

okay I can’t remember who leaked Cult Leader, but that’s a 2013 Nowels track too, correct? And that file didn’t go through anyone else? If that’s the case i think it’s a possibility people have the real YG/FC/YTH files too

no especially because of that random bagpipes (?) harmonica (?) solo 😭😭