BluVelvUnderground

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. 

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

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

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. 

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

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. 

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. 

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. 

peppers is such a wild ride with that surf rock break  
 
honey i'll bring the coffee if you bring the wine
I'M IN LOVE I'M IN LOVEEE 

ok but has anyone noticed that in let the light in, she says:
 
"let the light in, at your backdoor yelling 'cause I wanna come in"
so she's saying she's outside his house, wanting to come in, which means the "light" in this metaphor is her.
and then she says "turn your light on"
 
queen of singing about wanting her man to turn her on

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.

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.

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

Either drumsticks or one of those rolly office chairs 

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

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

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. 

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