BluVelvUnderground

I think some people will assume she's just following a trend, but they won't make a big deal about it. I think most people with brains will realize that she kinda pre-dated the "trend" with CoCC and BB in the same year.

Hi everybody! My new album is here, and I shared it to bandcamp on January 1 and life got in the way before I could share it here. It's called PICK-ME, and it's 14 songs (plus a friend's track) I did from June to November of 2023; revolving around capturing my feelings during this period, while also thinking all cosmically and whatnot. It's introspective, unhinged, and made with love. https://littleboyvelvet.bandcamp.com/album/pick-me It's a weird one.

I did a cover of one of my favorite songs. https://littleboyvelvet.bandcamp.com/track/sheridan-square-single

I completely remastered (and restructured) an album I made back in May of 2020 called QUINN. I think it sounds a helluva lot better, and feels a helluva lot more cohesive. https://littleboyvelvet.bandcamp.com/album/quinn-2 The album cover says it all in terms of themes, but in words: an introspective concept album with a horror-centric soap opera story and a soundscape of post-industrial 90s influences both sonically, referentially, and deep in its thorned heart. Don't be shy to let me know what you think of it! Over the years, its been called "beautiful", "tasteless", "disturbing", and "poetic" by different peeps.

I said back on release week that it was impossible for me to rank them, so I just used that sorter tool to do the dirty work for me. lol 01. Paris, Texas 02. Fingertips 03. A&W 04. Peppers 05. Kintsugi 06. DYKTTATUOB 07. Let the Light In 08. GPSOTSOMFWHDF 09. Candy Necklace 10. Jon Batiste Interlude 11. The Grants 12. Taco Truck x VB 13. Fishtail 14. Margaret 15. Sweet 16. Judah Smith Interlude

I'm so happy somebody finally called out that it isn't a sample of the NfR song during the second half. It's been driving me crazy since the notes are so clearly very different.

https://en.wikipedia.org/wiki/Peg_Entwistle Lust for Life title track. The music video makes it more obvious. 13 Women = 13 Beaches She's a genius, that is all.

We need you to be more delusional. There's an entire Lemonade coming.

Tbh, any backlash she gets for using Black Dahlia should just stop before it ages as poorly as nearly all of her controversies do. The album was very frankly about the feminine body in many moments. I'm surprised people can praise A&W without realizing how integral that is to that song, and how that song kinda exists as the thesis to the record as a whole thematically (and even in how it is produced.) I love how Brian De Palma/American Horror Story can basically make an entire movie/season of TV about the murder, but the second a woman decides to do her own perspective of the way it affected pop culture and American anxieties, it's suddenly so controversial for reasons that the men who approach it never face. Edit: I'm also not surprised that murder is going to be part of the music video for Candy Necklace. The song itself really reminded me of songs on Nick Cave's Murder Ballads album. And it's genius that she released the 'screen test', considering that's mainly how Elizabeth Short is presented in the Brian De Palma film.

It's what she deserves. Has to be one of the most relatable songs she's done to date.

There are songs on Tunnel that are individually peak works of art (A&W doesn't need more praise, it's just magnificent; shocked some don't like Kintsugi or Fingertips, but understand if that's because people don't always care about lyrics like someone like me does), but Paris, Texas is probably my personal favorite in terms of the track on this album that hits me the closest. It's the California, Nectar of the Gods of this tracklist. Songs that hit me in some subconscious level and make me want to cry.

I'll never be able to be someone who can outright hate a Lana album. I can rank them, sure, but like if I did, Lust for Life would be at the bottom, but it's still an incredible album in its own right. Maybe its because I'm not one to judge an album based on a track-by-track approach, which is fine if others do, but I try to interpret albums as wholes rather than how many of the songs I think are individually great (for example, there's a couple songs on BB that I don't return to or find just decent, but it doesn't cause me to rank it below Born to Die, even though BtD has a more steady group of songs I'd call fantastic.) Lana is one of the few pop artists nowadays that every album she does is with a concept and its own contained story. It's why I won't crap on the interludes on Tunnel. Sure, I won't listen to Judah hardly ever by itself, but the atmosphere it provides the album as a whole is integral, and it's not like it's thematically or personally without intention. I'm a raging atheist, but I can empathize with individuals who practice faith without immediately throwing them into the ills of the bad doings of their institutions.

Like, The Grants and Tunnel are gorgeous. A&W is just a masterpiece on or off the tracklist. The interludes are amazing with Candy Necklace between them (wouldn't be surprised if this entire section becomes a 15 minute long music video.) Kintsugi and Fingertips are like her poetry book joined he shamelessly, and I respect the hell out of how she touches upon death in these two. Paris, Texas is such a gorgeous waltz with her vocals, and I think it may be one of the most beautiful things I've ever heard. Grandfather, Let the Light In, and Margaret are so NFR! extensions, and the latter two are growing on me already. The last three are just so effing good on their own, but are so strong together. I mainly want to say that Peppers is the right type of dissonance and off-tempo collage sounds that really tickle my brain and I hope to achieve with music I make myself. It's really where I hope top 40 goes in the future.

To be fair, there's a little of everything she's done up to this point here.

Ranking this album is so damn tricky. It’s not a problem I’ve ever had doing with any of her past records. I think it might be due to it’s eclectic soundscapes and the way so many tracks have language with others. It’s such a conceptually full tracklist. It manages to not follow the ‘rules’ of progressive albums like Pink Floyd, but it gives the same impression that it’s actually not the mess many have even praised it for. I feel like everyone following in the Lizzy Grant days has figured this one out. This is a bonafide masterpiece that’ll take a couple years for critics to catch up to realizing it’s just as important as NFR! I think this album’s gonna show another transition in pop music that has always followed her lead.

I can get behind rolly office chair. Programming myself now.

Please, I'm not sure, and if it's not intentional, I really don't want to ruin others' listening experiences, but at the very beginning of Peppers, there's a sound that sounds like a fart into a toilet and a quick laugh. Please tell me what it really is so I can rewire my 5 year old brain.

I think it's a beautiful decision to bleep it out, but a mark of a genius to bleep it barely.

I want to call Paris, Texas 'gorgeous', but it's such a terrible understatement. What a seriously beautiful song.

The reactions to the leak in this forum is giving me major deja vu to when NFR! first leaked. There was a similar vibe in that it was so soft rock compared to her previous releases, and then a bit of spicy divisiveness over which tracks were the best, and a lot of statements on which songs should be removed. I take this as a positive, since it's proving the album isn't boring, and I think pared with the reviews (which have been generally positive), that the album is going to be a grower and eventually reach the reputation NFR! has. Do I think the critics will put it as high as that one? Probably not, it seems more introspective and without an overall commentary that they tend to eat up (it was years ago, but my receipts are here somewhere in early 2019, I predicted it's acclaim based on the singles almost a year in advance.) In general, the way critics are comparing it to Leonard Cohen, and the fans have been kind of scratching their heads and praising the lyrics in equal measure - this feels like one of those mid-career releases that singer-songwriters do that doesn't become a "best of all time" thing, but that generally most agree is a strong statement and personal denouement that only a great can convince a major label to release. This is about all I have to say, at the moment. I'm excited for the record based on the reaction. NFR! ended up being way better than I ever expected it to be, so y'all responding to it the way you are makes me think there's something special and unique to take in - which is nice after the laidback and predictable (not in a bad way) period of COCC and BB.

I just finished up this 14-minute piece. I'm calling it a one-track EP, because it feels like a melting pot of a couple songs with this overarching melody. I guess in a weird way, I also consider it a single entity song itself. I don't know, it is what it is lol I just hope the runtime doesn't scare you. It's a bit experimental, but for the most part avant-folk/ambient with sound collage touches. Lyrics are under the track, since I know the style can make it a bit rough to hear every word, which I like and is intentional, but am truthfully methodical about my lyrics. <3 https://littleboyvelvet.bandcamp.com/album/godfuckingdammit-ep

I see you've been practicing my methods of getting the scoop. Cheers!

Hey y'all. while he initially didn't trust me after the last time, I managed to seduce and sleep with the insider again thanks to the power of Thai food. Apparently, the tracklist has been misprinted all this time and the track is actually called Poppers.