slang

Check the Art Deco thread in Lyrics forum. I'm pretty sure there's discussion that way. In particular, I like the Carmen 2.0 hypothesis advanced there (Carmen == LDR's alcoholic phase).

Another issue is whether Justin Parker was instagrammed by LDR solely because of his relation to the cover. Seems like more LDR/JP work in the near future is in doubt now if so, or is there other info about that?

I don't know how utterly strange her association with somebody like DJ is (as the first paragraph suggests), as she has stanned for Antony and Johnsons too (as Lizzy in an indexmagazine interview, where she identified Antony as the most kissable celebrity). The fact that she only heard of DJ through Barrie is interesting. The fact that DJ hadn't heard the song (or was he being *clearly* sarcastic, which is something the article writer should have said) was also surprising, but the producer undoubtedly did hear the song. I wonder what DJ would/will make of the fact that LDR dialed down the despondency of his song (ever so slightly) in the last lyrics to his song. Either way it's a great song, but I keep hoping someone's gonna mention that.

http://thetalkhouse.com/music/talks/will-butler-arcade-fire-talks-grimes-art-angels This is a website I like because the artist-on-artist perspective is relatively rare. An Arcade Fire member reviews Art Angels. Quirky review but in the comments at the bottom we learn that he actually liked the album. I'm liking the album myself. While I like the style of Visions more, I'm pretty comfortable with AA as quality work extending her reach, which I hope she continues to extend. Her production is awesome.

Beautifully sung with a tempo at or exceeding DJ's. Here's the original: It's interesting that LDR perseverates the form of the chorus at the end (at least that's what I hear), whereas DJ changes it up a bit to make his despondency seem even more despondent. At the end: what DJ sings what LDR sings Some things last a lifetime x 2 ==> Some things last a long time x 2 This would be a mistake on LDR's part. Or perhaps some deep philosophical feminist statement?

Yes, but on the other hand, you're not *certain* they'd do poorly. Her pop ditties/unreleased/leaks collectively have a certain amount of power and charm, otherwise people wouldn't be making playlists of them. Would they make money? IDK, but those two songs seem above average, at least relative to what's averagely released, imo, and while maybe not the *best* that could be released from her unreleased, they wouldn't be album filler on a "pop" album of hers (again, imo).

I think her "trash" verdict for "Mistake in Parting" is owing to the lyrics. But if she's more into some kind of cosmic dread sort of sadness now (or whatever the "Pain is Beauty"/ "Abyss" albums imply) than some kind of LDR-like relationship sadness back then, maybe she could call the album "Exorcisms are interesting", as I often think artists write about the stuff they don't like experiencing (e.g., Nothing Noone, Mistake in Parting, Your Name, Hallelujah, on MIP). This may relate to the "Pain is Beauty" persona a little (i.e., she makes beauty out of her pain). At any rate, it's interesting that the cosmic dread outlook grew out of the more conventional relationship sadness. I was also surprised at how much I could understand her singing, which is not so true of her currently (for me), though her singing voice does seem a lot better now (and she recently posted lyrics for all her released albums at her website, which is nice; wish more artists did that).

Chelsea Wolfe circa 2006. Only heard it once and I think I love it. Lyrically it seems very similar to LDR, at least at times. Love the recent CW too (and somewhat sad that CW "hates" this unreleased work).

BTD sales/UV sales/HM sales: It's easy for me to think that the negative hype wave attached to LDR in the early days actually propelled her sales, given the idiocy of general criticism, which was so obvious to the GP. UV sales might have ridden the tail of that a bit, but the music (and Auerbach association) probably intrigued the GP (and of course critics were desparately trying to regain credibility from the BTD era). What I most remember about UV is that singles were very strong artistically (but not sales) for pop singles. With HM the singles don't seem as natural, or strong, as "pop" singles, although I guess it would be a film-noir style as opposed to desert rock. It's also weird how higher metacritic scores go with lower sales for LDR, although higher metacritic ratings may generally go with lower sales for artists, idk. LDR reconsidering pop: She should definitely do this both in more conventional and less conventional terms. Her pre-BTD work is worth legitimizing in new releases as well as newer work. If she took a conquer by multiply rather than a conquer by divide approach I'd be happier, but my feeling reflects the fact that I'm more impressed by her diversity, so I consider songs like Noir, Axl Rose Husband, Fordham Road to be just as desireable as "pop" songs as her more reasonable examples, such as Queen of Disaster, Behind Closed Doors, Making Out. HM songs are similar or she sounds bored: I don't get this as much as other people. On the other hand, I love her May Jailer work, and HM is sort of like May Jailer produced by Beck. Are there people out there that love Beck's Morning Phase (which also seems a little May Jailerish, produced by Beck, of course), but are still underwhelmed by HM? What about people who love Goldfrapp's Tales of Us, which is also in the genre of softer, similar-sounding (within album) dream pop. Just curious. I also don't play all of HM in a single sitting; I play more the two halves (dividing it at BN) or specific song clusters. And the problem I have with playing an artist to the exclusion of other artists (at least for me and with this artist), is that I'm continually assessing LDR (e.g., figuring out why and how much I like her), which implies, for me, listening to other artists (as well as other genres of music) while I listen to her. Lazy lyrics and lyrical topics: I believe this depends on how far you go in considering lyric origins, meaning, or what "spin" you can put on them. I'm not saying all her lyrics/topics are repairable, but I'm not sure all cited examples of cringeworthy lyrics and topics are always due to laziness. So, for example, the song Religion, might cause people to grate their teeth if they think of her singing about worshipping some guy. However, there is enough ambiguity in the song to suggest she could be singing about her relationship to "religion" and has purposely disguised that fact (so it won't be played on Christian radio?). Would that count as lyrical cleverness, perversion, or both? As another example, say somebody doesn't like the use of random words being thrown out in the chorus of Salvatore "Cacciatore, Limousines, Ciao amore, Soft ice cream", but if that is seen as part of an homage to or an exploitation of another lyricist's technique ("A mullato, an albino, a mosquito, my libido") does that make it any better? Maybe the use of trigonometry in The Blackest Day is lazy in the sense that a lot of songs use that term, but then again maybe it's just one of those (random?) postmodern references she is prone to. BTW, if you type "trigonometry in lyrics" in google you get as first hit: http://www.lyrics.net/lyrics/trigonometry which will get you a list of songs/artists that use the term in a song, a neat feature of that website.

Well it could be sarcasm also, and self-dragging could mean she expected it to do (a lot) worse owing to the (LDR-perceived?) non-commercial nature for the album. However, if she sold more than Carly Rae Jepsen or Selena Gomez, how could she not be proud? I know she's not competing with them, but aren't they doing the promoting people expect of pop stars, and LDR still competes with them commercially (although I really think the way LDR promotes herself is underrated).

Given Burnt Norton doesn't seem like an intro to Religion and is marked "interlude", I get the sense of two albums (one before and after the interlude), but the two albums share some lyrical topics (with variation), so songs across the halves could seem related: Honeymoon/24; GKIT/Religion; Freak/Swan Song; TLY/TBD. DLMBM seems like an encore or epilogue to everything. BTW, I would positively love an album "high quality unreleased song leaks". She can't have a Greatest Hits CD, but she can have (several) Greatest Leaks CDs.

it's there: http://lanaboards.com/index.php?/topic/1859-celebrity-mentions-thread/?p=50339 Celebrity Mentions Thread

Some others I remember: Grimes (blog) Nicole Dollanganger (blog) Kesha (in a tweet, I think she also recommended a video) Rufus Wainwright (still waiting for a collab between them he hinted at) Shania Twain (in a Rollingstone interview at the time of the BTD negative hype wave) David Gahan (well his daughter anyway, LDR only thing he remembered about the "charts", this was recent) Sky Ferreira (covered Blue Jeans) Frank Ocean (recommended a video, Ride? in blog)

For those that are morbidly curious: http://podcastone.com/Bret-Easton-Ellis-Podcast I did not hear a quote to the effect KG's mention of LDR made LDR more famous (that's in the headline for the article). Maybe it was edited out? Contrarywise heard KG mention (toward end) that she was surprised her husband was so bashed (in the press) on their divorce because she didn't think people still knew who they were. Here's a rough map (times approximate) of very selective topics: 30 mins joan didion feminism (sounds like jd would be pro LDR, btw). 40 mins madonna (KG: liked 1st record and production) 41 mins Blondie talk. 43 mins LDR 1st mention: interviewer starts with an early comparison to joan didion by the interviewer. The interviewer is actually pretty sympathetic to her aesthetic, initially! 45:15 kg starts on ldr. 48:00 interviewer: LDR is what she is because of her looks. 48:22 KG says people criticize LDR because she seems like a throwback to the 50s, not an issue to her. She might have articulated further but... 48:22 interviewer cuts her off and "corrects" KG for why LDR is criticized. LDR likes taking pills and is a FMWUTTT type media star that sings in a droning unapolegetic voice. I hate the guy, primarily because he thinks his opinions are more important (to me) than Kim's which is of course ridiculous and false. 54:00 Courtney Love/Kurt Cobain is discussed. 1:00 Talk about Eagles Hotel California 1:01:00 Grimes "absence of female producers a problem" 1:02:00 2nd Lana Del Rey mention by KG: "twelve year old psychotic fans on twitter" context: worrying about saying something publically (internet) that will offend somebody.

We know they separated, but we don't know the toxicity level. It could be that he just wasn't there for her, like a table, because he was pursuing his own musical career. But what I'm criticizing is the fact that she mentions him w/o supporting him somewhat, and maybe she has good reason not to support him, but then, if she does, she shouldn't have mentioned him, as you say.

A little bit of the queen of non-sequitur in this, or she has a pretty convoluted way of thinking, idk. I think her fear of death is sincere. I interpret her famous Guardian quote as meaning she wanted to know an answer about existence after death (or simply not to know anything at all). I got that impression from the Frank Lloyd Wright snippet she instagrammed a while back. The "wanting children" aspect is interesting. Someone who really wants to die (or has the philosophical position that being born was not an inherently good thing, as some philosophers actually argue) should not want children. As far as not touring goes, unless she's breaking up with her band, she will be putting on shows. Her band has to eat. However, I wouldn't be surprised if she only tours Europe and mostly excludes the US (sort of the opposite of the UV tour). I would have liked more Barrie stanning music-wise. I know she doesn't owe him this, but he is good enough to have deserved a more interesting comment than a) he's a fraternal twin -- although this DOES imply significant musical talent, imo (I just wish she would have footstamped it more) and b) a clairvoyant predicted he wouldn't be "present" (the relationship?, the planet?)! Maybe we'll get some candid interviews from Barrie in the future because of this interview, and I certainly hope his debut LP breaks him out commercially.

I think Taylor recently said herself that people need a "break" from her. And why do people keep forgetting Beck over Beyonce happened in 2015 for AOTY? and the Billboard predictions from 2015 did not even mention Beck. http://www.billboard.com/articles/columns/pop-shop/6266722/2015-grammys-predictions-beyonce-sam-smith-sia but yeah, a win is unlikely for LDR, but any nomination would be a win of sorts.

To me a best pop vocal album submission for HM makes sense, given she probably doesn't care if she actually wins, but if nominated, she'd rather be so in a highly regarded category (i.e., indie/alternative is kind of in a music ghetto like rap is; at least I infer this as neither indie nor rap awards were presented on live TV last year). So being nominated in the popular category at least makes a "political" statement that popular can be weird, diverse, or intelligent. Also the vocal component of HM is actually very strong compared to other popular releases, imo.

She's listed as for "Mellotron effects", which is an odd way of putting it. Nevertheless, I'm hoping they're acknowledging the part of the backing instrumentals that sounds similar to the backing on Baby Blue Love.

Dave Gahan (Depeche Mode) has a nice mention for LDR. I love it when artists I love love artists I love, but notice how the headline distorts it. Anyway glad LDR was the only thing he remembered when asked about what he thought was good on the charts. http://www.theguardian.com/music/2015/oct/08/dave-gahan-depeche-mode-soulsavers-interview

The main problem I have with understanding the MV concept is that the male-oriented voyeurism (defined as pretty views of females, including LDR, herself) far exceeds female-oriented voyeurism, which I guess is ironic. So I wonder how feminists are going to view it. It's an odd video, though I do enjoy seeing her happy, which I guess is another irony given how much her songs are dinged for sadness in negative reviews of her. As many pointed out color use is perplexing but possibly not random. Boys are always black and white, and LDR is mostly black and white except when she's in the water. Water nymphs are in color except when they are walking on the beach toward the end (or viewed as a projection behind Lana).

It was the only song, along with the Honeymoon song, that had full lyrics written out for it in the CD booklet. So yeah, it's an important song it seems. I think the album really closed with Swan Song as the last original song, but you could think of DLMBM as a kind of encore. I also think she would have freaked the fandom out a bit, if she had closed the album with Swan Song, instead of this one.

She could also do faster versions of HM songs (MTWBT, Art Deco, GKIT), you never know. I for one also hope she does more of her leaks/AKA work in concert. My main criticism of her as an artist is that she's too inhibited about what she considers her good work.

The CD booklet has a lyric snippet for MTWBT printed, which includes that line.

Fair enough, but I think reaching is precisely my point. I'm given a choice of looking at the headdress as just some random thing she did that she was ignorant about the ramifications of. Or I can be shocked by the headdress and posit a meaning based on what I know of her. What should I do? It's my choice as an art consumer, but LDR tweeting she had spent considerable time on "Indian Reservations" kind of forced my choice, because I cannot (easily) assume she didn't know about the meaning of the headdress. Therefore, I choose to view the cultural appropriation as being of the cultural/historical functions of the headdress (as well as its visual aspect on her) and was made happier by virtue of the fact there appeared to be an external lattice to pin my interpretation on (her coming out about her alcoholism problem shortly before the Ride video, her behavior wrt to alcohol in the video and the odd prominence of booze imagery in the video, her tweeting--in a private twitter conversation, later divulged--that "I wore the headdress because I share struggles w my friends", not to mention the historical relation between Native Americans and alcoholism). So my reaching appeases me somewhat in terms of *explaining* her actions, but I don't know if Native Americans (who were strongly offended by her appropriation, not all of them were) would be affected by this interpretation.