Jazzmin

OMFG, she's coming to Berlin, too! But then, I'm not sure yet whether I will be able to attend her show. Won't be surprised if the tickets will have been sold out by the time I know it

You don't need to be schizophrenic to use this form of narration (or whatever you call this in songs). It might be just a means to express your concept. I'm positive Lana's capable of that, even if she prefers to stay in her comfort zone of red party dresses (which I don't necessarily mind, it might just keep her from spreading her wings). And even if I think "Swan Song" definitely isn't about her past self or something like this. Because the literal meaning of the phrase "swan song" implies that? And Lana often toys with the idea of death in her songs, and not only that, she doesn't even mind killing herself in her art (if you want straightforward examples: the BTD & SS music videos). I don't argue it's not metaphorical but what I'm saying is just that people get these negative interpretations for a reason. I actually kind of feel this way too because the line "And I will never sing again" does feel suicidal to me in a sense: I can't envision Lana giving up singing, she seems to fucking love it, how else do you explain that plethora of unreleased songs and the fact that she releases a new album every year or so? And she's herself said it in many interviews it's fun to her. So do I! I'm pretty sure it was intended, Lana is a sucker for religious/cult imagery and the like (I mean as ideas that fit her songs)

You know what, I believe her when she's saying "this song is actually about a group of teenagers who go out every night". To me it does not feel like a song she wrote about herself. The way I see it... Lana sees a girl who behaves the way she herself used to (in the story that her songs tell, at least), doesn't understand it anymore and kind of rhetorically asks her "why". Because Lizzie has changed. It might well remind her of her past, spotting someone doing what she used to do, but she doesn't address her past self directly. That's why, I've got to confess, I fail to see the alleged lyrical connection between "Freak" and this track . (Maybe with the exception of the infamous "looking back, my past / It all seems stranger than a stranger" but I try to wipe it from my mind, such a clunky lyric, yuk!) Although I do appreciate other interpretations.

For me she was absolutely stellar. I don't get the criticism about her looks that appeared somewhere in this discussion, she looked like an angel, as someone already said, too. And I enjoyed watching her perform, she was cute and seemed to be having fun. I mean: As for the music, I was there, with all that usual vibe, mood and so on, so my opinion doesn't count for much but I enjoyed each and every song so freaking much (maybe except for Claire de Lune xD ). As for the setlist, I too would have loved Lana to perform more Ultraviolence & Honeymoon tracks, not because I've had enough of her earlier stuff but because her newer albums deserve some performances as well. Could've been worse, though. Imagine she'd have performed (for example) Summertime Sadness & National Anthem instead of Carmen & Lolita. And it was the first time I've ever heard Serial Killer live, not via YouTube and it was quite an experience which is why I don't give a hoot if she's already performed it some 20 times because for me it was the first one!

Hey, sort of a random question but... is anyone in possession of the whole interview with Emilie from this magazine/of this magazine itself? or do you know anyone who might be?

Ditto, like, I love listening to Cola but she's got so much newer stuff to perform. Especially UV tracks! I'm hoping to hear those today.

I haven't. But even if the song used to be uploaded to her YT channel indeed, there wouldn't be much proof of it now anyway, except for the word of her then-subscribers, I guess? And I didn't know her music back then so dunno.

Born to Die. Never will get tired of this song

You beat me to it! (which comes as no surprise if I get myself to post several months after the release ; the fact that I respond to an old post may also seem to make no sense but it's such nutritional food for thought so...) I know the down-on-my-knees thing might seem a very plain double entendre which didn't necessarily need to have been written by a lyrical genius but in both songs the writers made great use of it IMHO. And yeah, it never ceases to amaze me how many phrases and motifs ND & LDR have in common. They both quote the very same song, the Americana imaginary, which Lana's so infatuated with, is also woven into Nicole's newest album. Although I highly doubt Nicole could've influenced Lana - maybe I just don't stay up-to-date with things... but well, as far as I know, Lana has never ever hinted that she'd stumbled upon the skeletal lullabies of a certain Stouffville angel. And she would have if it were the case. After all, that woman loves her "masters of every genre", hardly ever mentions anyone else (does she ever?), doesn't get tired of the first pages of "Lolita" despite having read them umpteen times (a fact mentioned roughly halfway through the broadcast) so I think she mostly plays the same records over and over again (can't find a proof but I guess you can see the logic of that, given her admiration for Kurt Cobain or Elvis), which in turn makes me suppose Lana won't be particularly keen on trawling the Internet on the lookout for as-yet-unknown singers. Or up-and-coming ones, for that matter. The other way round then? But Nicole sang "he hit me and it felt like a kiss" before Lana did! So I'd rather put it down to the purely coincidental affinity of their souls, pretentious as it sounds. Did you notice that she uses the very same concept in "Bad Disease"? "I got a bad disease / It's got me down on my knees" In that context her posture comes across as a scarcely erotic one. It's more, yeah, like you said, begging, I'd even risk - humiliation. Especially that a moment earlier she sings: "Oh my god", taking on a very desperate tone like in "The Blackest Day". In my view, this little common figure of speech perfectly reflects "the depths of utter desperation" she's going through in the song, when uttered by her emotional voice.

Mylène Farmer - Pardonne-moi

Emilie Autumn - Cold

Michel Berger - Le paradis blanc

Rechecked my schedule and it seems I must have gotten it wrong (comes as no surprise at all, lol), nothing stopping me from going to Warsaw on July 3rd. @@Agnese13 & @ either of you want to meet me there if I go? @ Ich hätte dich sehr gern vor 2 Jahren (wie schnell die Zeit vergeht!) in Berlin getroffen, hoffe keine solche wunderbare Gelegenheit wieder zu versäumen

Mylène Farmer - L'histoire d'une feé, c'est...

Nicole Dollanganger - Smitten With You <3

When it comes to the problematic line, I can't ward off my idiotic associations with cereals I hate it when some irrelevant thought of this kind "destroys" (doesn't mean I cease to like it but the song becomes hilarious even if Lana didn't mean it to be) a song for me, it's still better than "Black Beauty", though: initially I kept picturing a horse (because of Anna Sewell's novel) every time I heard the chorus and it took me quite a while to weed it out. And OMG, I was so happy when I saw a vid of her performing this song I started hoping that one day she will embrace all of her unreleased stuff.

A ridiculously short piece of "Summertime Sadness" in Polish: Mam te-te letnie smutki, letnie smutki L-l-letnie, letnie smutki To te letnie, letnie smutki O-o-o-o-och Chyba będę tęsknić już zawsze Jak poranne gwiazdy za słońcem muszą tęsknić I wiesz, lepiej późno niż wcale Nawet bez ciebie ja wciąż będę pędzić, pędzić

Exams were it not for them, I'd probably consider attending, although to tell the truth, I haven't really felt like going to any gigs lately.

Hahaha, purtroppo no , infatti sono solamente una polacca che parecchi anni fa ha deciso di studiare l'italiano semplicemente perché lo trovava bellissimo (che cliche, lo so) e non si può ancora vantare di conoscerlo davvero benché faccia del suo meglio! In short, I am not but I can speak some Italian, although not as fluently as I wish I did Castle Down - Emilie Autumn

L'ultima preghiera - Carmen Consoli I absolutely and entirely love it

The Looking-Glass by William March

Heard It All - Emilie Autumn

Somebody actually saying it isn't? And it isn't any argument against the right to criticize lyrics that are bad in your opinion. (Sorry if it sounds like mere nitpicking but I have a strong aversion to the "try-it-yourself" phrase in this kind of context since it's often intended to keep people from expressing their constructive opinions too just because they are not 100% laudatory to certain music, book etc. Doesn't mean I support plain, ungrounded hating on Lana, regardless of whether her lyrics are mind-blowingly awesome or totally cringe-worthy. ) @@naachoboy of course the thread is subjective, personal and doesn't convey any undeniable truth but aren't people entitled to discuss things they like and things they don't? Back to the subject I won't repeat the songs already mentioned (or at least I will try not to). Lyrics which I'd use to prove Lana is a great songwriter: A Star for Nick Pin-Up Galore Butterflies, part 1 & 2 I've always liked Now my life is sweet like cinnamon / Like a fucking dream I'm living in Aviation (simple but good!): Have a big degree in philosophy But I don’t know what I wanna be Velvet Crowbar: A flame-colored paradise for you, darling But death doesn't come with a warning She's Not Me: When you think you’re over me: And your bad baby's dead and gone (Remember) I’m the ghost in your machine I’m your real life suicide blonde And it's not an excellent lyric from a conventional point of view but in Ghetto Baby I like: We're a match made in heaven If they're gonna talk, let 'em If they don't think we're good together Baby, just forget 'em When he's bad, he's bad But when he's good no one's better 'Cause we're match made in heaven And this kind of love's forever Match made in heaven is such an obvious cliché in this context, getting quite along with the worn out I-don't-care-what-they-say-about-us motiv and when he's bad, he's bad so downright tautological like some good ol' yogiism that I can't help loving this part, to be honest (However, I have less liking for When I'm hot, I'm hot in Making Out, I dunno why, maybe because it isn't followed by some, mhm, conclusion? Like, correspondingly, But when he's good no one's better.) And IMHO Lolita doesn't deserve to be written off as a badly written song.

La signora del quinto piano - Carmen Consoli

Do You Know My Name? - Sopor Aeternus