BluVelvUnderground

We only have five days to wait - after more than a year - and y'all so impatient. 

I originally posted this in the Pre-Release thread, but thought it'd get more attention here. Wanna explain something I happened to notice while checking out the snippets.

I honestly think "Love" was meant to set the mood for the album overall. It has the guitar, but it has the "wall of sound" hip-hop to it, as well. And then, from "Lust for Life" to "Coachella", it really is like a stretch of sexy, summer-driven hip-hop tracks and ends on a positive track that is political - and then, we get all the guitars, and the veteran folk singers (or related to them) rather than the contemporary artists that feature in the first half. I think it's very intentional that the last half is going to have a Woodstock-vibe, only through some of the familiar hip-hop additions that modernize classic sounds. "Tomorrow Never Came" sounds very 1967-71 rock. Definitely see where she's connecting the "two generations", and why she probably feels kids looking into vintage music may find it denser if they understand that history is sort of repeating itself through the anxiety of the current political American heat. It's exactly what she said she wanted to do with the album, and her chronology of the tracks seems to really suit that concept. Even at around the half-point of the album, if you count "Love" as just the intro/combination of the two sounds, and "Coachella" the track that moves the hip-hop into its poltical, folk-driven side.
 
Lana still doing concept, for sure. 
 
A SORT OF CHART (lol):
 
INTRODUCTION (folk guitar strings open the album, but blends into spacey, "wall-to-wall" hip-hop noises)
01. Love
 
SEXY, SUMMER-Y, HIP-HOP (7 "wall-to-wall" hip-hop noises)
02. Lust for Life
03. 13 Beaches
04. Cherry
05. White Mustang
06. Summer Bummer
07. Groupie Love
08. In My Feelings
 
THE BRIDGE (a more stripped back hip-hop beat, letting the album kind of cool off a bit before getting more poltically-minded)
09. Coachella..
 
POLITICAL "GANGSTA" FOLKY-Y (7 "wall-to-wall" hip-hop noises, but more laid back, with heavier guitar and folk featured artists)
10. God Bless America..
11. When the War Was at War...
12. Beautiful People, Beautiful Problems
13. Tomorrow Never Came
14. Heroin
15. Change
16. Get Free
 
It's like she takes us from "Coachella" to "Woodstock" by using that track as a bridge. As I predicted, the song works in concept of the album; but releasing it as a single is bizarre. From what we have in the snippets, this album seems to be very well-thought out. 

I'm neither Rob, nor Graham. I just really appeciate concept albums, and it's always been my favorite attribute of Lana as an artist. 

I originally posted this in the Pre-Release thread, but thought it'd get more attention here. Wanna explain something I happened to notice while checking out the snippets.

I honestly think "Love" was meant to set the mood for the album overall. It has the guitar, but it has the "wall of sound" hip-hop to it, as well. And then, from "Lust for Life" to "Coachella", it really is like a stretch of sexy, summer-driven hip-hop tracks and ends on a positive track that is political - and then, we get all the guitars, and the veteran folk singers (or related to them) rather than the contemporary artists that feature in the first half. I think it's very intentional that the last half is going to have a Woodstock-vibe, only through some of the familiar hip-hop additions that modernize classic sounds. "Tomorrow Never Came" sounds very 1967-71 rock. Definitely see where she's connecting the "two generations", and why she probably feels kids looking into vintage music may find it denser if they understand that history is sort of repeating itself through the anxiety of the current political American heat. It's exactly what she said she wanted to do with the album, and her chronology of the tracks seems to really suit that concept. Even at around the half-point of the album, if you count "Love" as just the intro/combination of the two sounds, and "Coachella" the track that moves the hip-hop into its poltical, folk-driven side.
 
Lana still doing concept, for sure. 
 
A SORT OF CHART (lol):
 
INTRODUCTION (folk guitar strings open the album, but blends into spacey, "wall-to-wall" hip-hop noises)
01. Love
 
SEXY, SUMMER-Y, HIP-HOP (7 "wall-to-wall" hip-hop noises)
02. Lust for Life
03. 13 Beaches
04. Cherry
05. White Mustang
06. Summer Bummer
07. Groupie Love
08. In My Feelings
 
THE BRIDGE (a more stripped back hip-hop beat, letting the album kind of cool off a bit before getting more poltically-minded)
09. Coachella..
 
POLITICAL "GANGSTA" FOLKY-Y (7 "wall-to-wall" hip-hop noises, but more laid back, with heavier guitar and folk featured artists)
10. God Bless America..
11. When the War Was at War...
12. Beautiful People, Beautiful Problems
13. Tomorrow Never Came
14. Heroin
15. Change
16. Get Free
 
It's like she takes us from "Coachella" to "Woodstock" by using that track as a bridge. As I predicted, the song works in concept of the album; but releasing it as a single is bizarre. From what we have in the snippets, this album seems to be very well-thought out. 

I'm neither Rob, nor Graham. I just really appeciate concept albums, and it's always been my favorite attribute of Lana as an artist. 

I originally posted this in the Pre-Release thread, but thought it'd get more attention here. Wanna explain something I happened to notice while checking out the snippets.

I honestly think "Love" was meant to set the mood for the album overall. It has the guitar, but it has the "wall of sound" hip-hop to it, as well. And then, from "Lust for Life" to "Coachella", it really is like a stretch of sexy, summer-driven hip-hop tracks and ends on a positive track that is political - and then, we get all the guitars, and the veteran folk singers (or related to them) rather than the contemporary artists that feature in the first half. I think it's very intentional that the last half is going to have a Woodstock-vibe, only through some of the familiar hip-hop additions that modernize classic sounds. "Tomorrow Never Came" sounds very 1967-71 rock. Definitely see where she's connecting the "two generations", and why she probably feels kids looking into vintage music may find it denser if they understand that history is sort of repeating itself through the anxiety of the current political American heat. It's exactly what she said she wanted to do with the album, and her chronology of the tracks seems to really suit that concept. Even at around the half-point of the album, if you count "Love" as just the intro/combination of the two sounds, and "Coachella" the track that moves the hip-hop into its poltical, folk-driven side.
 
Lana still doing concept, for sure. 
 
A SORT OF CHART (lol):
 
INTRODUCTION (folk guitar strings open the album, but blends into spacey, "wall-to-wall" hip-hop noises)
01. Love
 
SEXY, SUMMER-Y, HIP-HOP (7 "wall-to-wall" hip-hop noises)
02. Lust for Life
03. 13 Beaches
04. Cherry
05. White Mustang
06. Summer Bummer
07. Groupie Love
08. In My Feelings
 
THE BRIDGE (a more stripped back hip-hop beat, letting the album kind of cool off a bit before getting more poltically-minded)
09. Coachella..
 
POLITICAL "GANGSTA" FOLKY-Y (7 "wall-to-wall" hip-hop noises, but more laid back, with heavier guitar and folk featured artists)
10. God Bless America..
11. When the War Was at War...
12. Beautiful People, Beautiful Problems
13. Tomorrow Never Came
14. Heroin
15. Change
16. Get Free
 
It's like she takes us from "Coachella" to "Woodstock" by using that track as a bridge. As I predicted, the song works in concept of the album; but releasing it as a single is bizarre. From what we have in the snippets, this album seems to be very well-thought out. 

OT but seeing you type these out made it JUST hit me how hilarious Swan Song and DLMBM being one after the other is... she is literally saying "yes, I wrote a song called Swan Song, no, i'm not quitting music". Not that I think it is why she chose that cover, but a clever/funny piece nonetheless 
 
I like this analysis re: LFL tracklist, CWIMM makes more sense and actually, to me, explains why I felt like it was "out of place" earlier... because it mixes the two sides of the album and is the bridge, it fits neither here nor there, but is its own part of the story. 

What's cooler is that, if you wanted to, you could really see it as Lana's "for the fans" promise. Both sides of the album seem to reflect on the styles of both Born to Die and Ultraviolence.

I'm neither Rob, nor Graham. I just really appeciate concept albums, and it's always been my favorite attribute of Lana as an artist. 

I originally posted this in the Pre-Release thread, but thought it'd get more attention here. Wanna explain something I happened to notice while checking out the snippets.

I honestly think "Love" was meant to set the mood for the album overall. It has the guitar, but it has the "wall of sound" hip-hop to it, as well. And then, from "Lust for Life" to "Coachella", it really is like a stretch of sexy, summer-driven hip-hop tracks and ends on a positive track that is political - and then, we get all the guitars, and the veteran folk singers (or related to them) rather than the contemporary artists that feature in the first half. I think it's very intentional that the last half is going to have a Woodstock-vibe, only through some of the familiar hip-hop additions that modernize classic sounds. "Tomorrow Never Came" sounds very 1967-71 rock. Definitely see where she's connecting the "two generations", and why she probably feels kids looking into vintage music may find it denser if they understand that history is sort of repeating itself through the anxiety of the current political American heat. It's exactly what she said she wanted to do with the album, and her chronology of the tracks seems to really suit that concept. Even at around the half-point of the album, if you count "Love" as just the intro/combination of the two sounds, and "Coachella" the track that moves the hip-hop into its poltical, folk-driven side.
 
Lana still doing concept, for sure. 
 
A SORT OF CHART (lol):
 
INTRODUCTION (folk guitar strings open the album, but blends into spacey, "wall-to-wall" hip-hop noises)
01. Love
 
SEXY, SUMMER-Y, HIP-HOP (7 "wall-to-wall" hip-hop noises)
02. Lust for Life
03. 13 Beaches
04. Cherry
05. White Mustang
06. Summer Bummer
07. Groupie Love
08. In My Feelings
 
THE BRIDGE (a more stripped back hip-hop beat, letting the album kind of cool off a bit before getting more poltically-minded)
09. Coachella..
 
POLITICAL "GANGSTA" FOLKY-Y (7 "wall-to-wall" hip-hop noises, but more laid back, with heavier guitar and folk featured artists)
10. God Bless America..
11. When the War Was at War...
12. Beautiful People, Beautiful Problems
13. Tomorrow Never Came
14. Heroin
15. Change
16. Get Free
 
It's like she takes us from "Coachella" to "Woodstock" by using that track as a bridge. As I predicted, the song works in concept of the album; but releasing it as a single is bizarre. From what we have in the snippets, this album seems to be very well-thought out. 

I originally posted this in the Pre-Release thread, but thought it'd get more attention here. Wanna explain something I happened to notice while checking out the snippets.

I honestly think "Love" was meant to set the mood for the album overall. It has the guitar, but it has the "wall of sound" hip-hop to it, as well. And then, from "Lust for Life" to "Coachella", it really is like a stretch of sexy, summer-driven hip-hop tracks and ends on a positive track that is political - and then, we get all the guitars, and the veteran folk singers (or related to them) rather than the contemporary artists that feature in the first half. I think it's very intentional that the last half is going to have a Woodstock-vibe, only through some of the familiar hip-hop additions that modernize classic sounds. "Tomorrow Never Came" sounds very 1967-71 rock. Definitely see where she's connecting the "two generations", and why she probably feels kids looking into vintage music may find it denser if they understand that history is sort of repeating itself through the anxiety of the current political American heat. It's exactly what she said she wanted to do with the album, and her chronology of the tracks seems to really suit that concept. Even at around the half-point of the album, if you count "Love" as just the intro/combination of the two sounds, and "Coachella" the track that moves the hip-hop into its poltical, folk-driven side.
 
Lana still doing concept, for sure. 
 
A SORT OF CHART (lol):
 
INTRODUCTION (folk guitar strings open the album, but blends into spacey, "wall-to-wall" hip-hop noises)
01. Love
 
SEXY, SUMMER-Y, HIP-HOP (7 "wall-to-wall" hip-hop noises)
02. Lust for Life
03. 13 Beaches
04. Cherry
05. White Mustang
06. Summer Bummer
07. Groupie Love
08. In My Feelings
 
THE BRIDGE (a more stripped back hip-hop beat, letting the album kind of cool off a bit before getting more poltically-minded)
09. Coachella..
 
POLITICAL "GANGSTA" FOLKY-Y (7 "wall-to-wall" hip-hop noises, but more laid back, with heavier guitar and folk featured artists)
10. God Bless America..
11. When the War Was at War...
12. Beautiful People, Beautiful Problems
13. Tomorrow Never Came
14. Heroin
15. Change
16. Get Free
 
It's like she takes us from "Coachella" to "Woodstock" by using that track as a bridge. As I predicted, the song works in concept of the album; but releasing it as a single is bizarre. From what we have in the snippets, this album seems to be very well-thought out. 

I originally posted this in the Pre-Release thread, but thought it'd get more attention here. Wanna explain something I happened to notice while checking out the snippets.

I honestly think "Love" was meant to set the mood for the album overall. It has the guitar, but it has the "wall of sound" hip-hop to it, as well. And then, from "Lust for Life" to "Coachella", it really is like a stretch of sexy, summer-driven hip-hop tracks and ends on a positive track that is political - and then, we get all the guitars, and the veteran folk singers (or related to them) rather than the contemporary artists that feature in the first half. I think it's very intentional that the last half is going to have a Woodstock-vibe, only through some of the familiar hip-hop additions that modernize classic sounds. "Tomorrow Never Came" sounds very 1967-71 rock. Definitely see where she's connecting the "two generations", and why she probably feels kids looking into vintage music may find it denser if they understand that history is sort of repeating itself through the anxiety of the current political American heat. It's exactly what she said she wanted to do with the album, and her chronology of the tracks seems to really suit that concept. Even at around the half-point of the album, if you count "Love" as just the intro/combination of the two sounds, and "Coachella" the track that moves the hip-hop into its poltical, folk-driven side.
 
Lana still doing concept, for sure. 
 
A SORT OF CHART (lol):
 
INTRODUCTION (folk guitar strings open the album, but blends into spacey, "wall-to-wall" hip-hop noises)
01. Love
 
SEXY, SUMMER-Y, HIP-HOP (7 "wall-to-wall" hip-hop noises)
02. Lust for Life
03. 13 Beaches
04. Cherry
05. White Mustang
06. Summer Bummer
07. Groupie Love
08. In My Feelings
 
THE BRIDGE (a more stripped back hip-hop beat, letting the album kind of cool off a bit before getting more poltically-minded)
09. Coachella..
 
POLITICAL "GANGSTA" FOLKY-Y (7 "wall-to-wall" hip-hop noises, but more laid back, with heavier guitar and folk featured artists)
10. God Bless America..
11. When the War Was at War...
12. Beautiful People, Beautiful Problems
13. Tomorrow Never Came
14. Heroin
15. Change
16. Get Free
 
It's like she takes us from "Coachella" to "Woodstock" by using that track as a bridge. As I predicted, the song works in concept of the album; but releasing it as a single is bizarre. From what we have in the snippets, this album seems to be very well-thought out. 

I originally posted this in the Pre-Release thread, but thought it'd get more attention here. Wanna explain something I happened to notice while checking out the snippets.

I honestly think "Love" was meant to set the mood for the album overall. It has the guitar, but it has the "wall of sound" hip-hop to it, as well. And then, from "Lust for Life" to "Coachella", it really is like a stretch of sexy, summer-driven hip-hop tracks and ends on a positive track that is political - and then, we get all the guitars, and the veteran folk singers (or related to them) rather than the contemporary artists that feature in the first half. I think it's very intentional that the last half is going to have a Woodstock-vibe, only through some of the familiar hip-hop additions that modernize classic sounds. "Tomorrow Never Came" sounds very 1967-71 rock. Definitely see where she's connecting the "two generations", and why she probably feels kids looking into vintage music may find it denser if they understand that history is sort of repeating itself through the anxiety of the current political American heat. It's exactly what she said she wanted to do with the album, and her chronology of the tracks seems to really suit that concept. Even at around the half-point of the album, if you count "Love" as just the intro/combination of the two sounds, and "Coachella" the track that moves the hip-hop into its poltical, folk-driven side.
 
Lana still doing concept, for sure. 
 
A SORT OF CHART (lol):
 
INTRODUCTION (folk guitar strings open the album, but blends into spacey, "wall-to-wall" hip-hop noises)
01. Love
 
SEXY, SUMMER-Y, HIP-HOP (7 "wall-to-wall" hip-hop noises)
02. Lust for Life
03. 13 Beaches
04. Cherry
05. White Mustang
06. Summer Bummer
07. Groupie Love
08. In My Feelings
 
THE BRIDGE (a more stripped back hip-hop beat, letting the album kind of cool off a bit before getting more poltically-minded)
09. Coachella..
 
POLITICAL "GANGSTA" FOLKY-Y (7 "wall-to-wall" hip-hop noises, but more laid back, with heavier guitar and folk featured artists)
10. God Bless America..
11. When the War Was at War...
12. Beautiful People, Beautiful Problems
13. Tomorrow Never Came
14. Heroin
15. Change
16. Get Free
 
It's like she takes us from "Coachella" to "Woodstock" by using that track as a bridge. As I predicted, the song works in concept of the album; but releasing it as a single is bizarre. From what we have in the snippets, this album seems to be very well-thought out. 

Some us are so needy. Forgive us. We can't help it. We are not worthy.

"Tomorrow Never Came" sounds rightfully Beatles-esque - which is what she obviously wanted (no subtley there). I just think its an important attribute to Lana's "pre/post-Woodstock" era of the 60s and 70s that covers that side of the album. She - like those figures in the past - is harkening back to a political-minded, unconventional anthem to which we are used to in her genre-bending attempts. So for that, I think it feels absolutely right for it to be included - and those 30 seconds make it clear that this is what she's doing. Excited to see how the rest of the track subverts it a little more. 

I think some knowledge of the concept beforehand helps in picking up on the story during a first listen. It's mainly how I've managed to get some die-hard progressive rock friends to listen to Ultraviolence - and almost all of them became fans afterward. 

I originally posted this in the Pre-Release thread, but thought it'd get more attention here. Wanna explain something I happened to notice while checking out the snippets.

I honestly think "Love" was meant to set the mood for the album overall. It has the guitar, but it has the "wall of sound" hip-hop to it, as well. And then, from "Lust for Life" to "Coachella", it really is like a stretch of sexy, summer-driven hip-hop tracks and ends on a positive track that is political - and then, we get all the guitars, and the veteran folk singers (or related to them) rather than the contemporary artists that feature in the first half. I think it's very intentional that the last half is going to have a Woodstock-vibe, only through some of the familiar hip-hop additions that modernize classic sounds. "Tomorrow Never Came" sounds very 1967-71 rock. Definitely see where she's connecting the "two generations", and why she probably feels kids looking into vintage music may find it denser if they understand that history is sort of repeating itself through the anxiety of the current political American heat. It's exactly what she said she wanted to do with the album, and her chronology of the tracks seems to really suit that concept. Even at around the half-point of the album, if you count "Love" as just the intro/combination of the two sounds, and "Coachella" the track that moves the hip-hop into its poltical, folk-driven side.
 
Lana still doing concept, for sure. 
 
A SORT OF CHART (lol):
 
INTRODUCTION (folk guitar strings open the album, but blends into spacey, "wall-to-wall" hip-hop noises)
01. Love
 
SEXY, SUMMER-Y, HIP-HOP (7 "wall-to-wall" hip-hop noises)
02. Lust for Life
03. 13 Beaches
04. Cherry
05. White Mustang
06. Summer Bummer
07. Groupie Love
08. In My Feelings
 
THE BRIDGE (a more stripped back hip-hop beat, letting the album kind of cool off a bit before getting more poltically-minded)
09. Coachella..
 
POLITICAL "GANGSTA" FOLKY-Y (7 "wall-to-wall" hip-hop noises, but more laid back, with heavier guitar and folk featured artists)
10. God Bless America..
11. When the War Was at War...
12. Beautiful People, Beautiful Problems
13. Tomorrow Never Came
14. Heroin
15. Change
16. Get Free
 
It's like she takes us from "Coachella" to "Woodstock" by using that track as a bridge. As I predicted, the song works in concept of the album; but releasing it as a single is bizarre. From what we have in the snippets, this album seems to be very well-thought out. 

I originally posted this in the Pre-Release thread, but thought it'd get more attention here. Wanna explain something I happened to notice while checking out the snippets.

I honestly think "Love" was meant to set the mood for the album overall. It has the guitar, but it has the "wall of sound" hip-hop to it, as well. And then, from "Lust for Life" to "Coachella", it really is like a stretch of sexy, summer-driven hip-hop tracks and ends on a positive track that is political - and then, we get all the guitars, and the veteran folk singers (or related to them) rather than the contemporary artists that feature in the first half. I think it's very intentional that the last half is going to have a Woodstock-vibe, only through some of the familiar hip-hop additions that modernize classic sounds. "Tomorrow Never Came" sounds very 1967-71 rock. Definitely see where she's connecting the "two generations", and why she probably feels kids looking into vintage music may find it denser if they understand that history is sort of repeating itself through the anxiety of the current political American heat. It's exactly what she said she wanted to do with the album, and her chronology of the tracks seems to really suit that concept. Even at around the half-point of the album, if you count "Love" as just the intro/combination of the two sounds, and "Coachella" the track that moves the hip-hop into its poltical, folk-driven side.
 
Lana still doing concept, for sure. 
 
A SORT OF CHART (lol):
 
INTRODUCTION (folk guitar strings open the album, but blends into spacey, "wall-to-wall" hip-hop noises)
01. Love
 
SEXY, SUMMER-Y, HIP-HOP (7 "wall-to-wall" hip-hop noises)
02. Lust for Life
03. 13 Beaches
04. Cherry
05. White Mustang
06. Summer Bummer
07. Groupie Love
08. In My Feelings
 
THE BRIDGE (a more stripped back hip-hop beat, letting the album kind of cool off a bit before getting more poltically-minded)
09. Coachella..
 
POLITICAL "GANGSTA" FOLKY-Y (7 "wall-to-wall" hip-hop noises, but more laid back, with heavier guitar and folk featured artists)
10. God Bless America..
11. When the War Was at War...
12. Beautiful People, Beautiful Problems
13. Tomorrow Never Came
14. Heroin
15. Change
16. Get Free
 
It's like she takes us from "Coachella" to "Woodstock" by using that track as a bridge. As I predicted, the song works in concept of the album; but releasing it as a single is bizarre. From what we have in the snippets, this album seems to be very well-thought out. 

I'm neither Rob, nor Graham. I just really appeciate concept albums, and it's always been my favorite attribute of Lana as an artist. 

I thought this was graham, too   
 
I actually agree with this, tho. It makes a lot of sense!

The summery sexy part is so fucking amazing.
favorite 7 track sequence in an album ever

@Mr Meeseeks Thanks for this - I (personally) have decided not to listen to the snippets that came out recently - With the album release being so close, I don't want to negate the overall experience I will get from listening to the whole album, beginning to end - You're breakdown is pretty cool though and something I will keep in mind as I listen to the album over and over and over, again and again and again....

Coachella being released when she did, stakes HER as the trendsetter, the one who led the way politically and once again shows how others have followed or will be following her
 
(in the same way "Terence Loves You" was written and released and sung before David Bowie died (and it was not pushed afterwards as single like some others might have profited off of the song.) Lana's was there before.
 
and btw, remember too that Coachella came PRIOR to the Selena Gomez concert and aftermath, but is so apropos of that too
 
as I said, can't think of any song that will top Coachella, I withhold judgement on the album until after the entire album is released to let everyone hear it
 
btw- on a different thread I said-
Groupie Love is in a way the direct companion meaning wise to "High by the beach" and part of the meaning of Groupie Love is telling the kiddies if they see Lana at a concert and Lana is attempting to enjoy it as a private person in a public place, give her space. Of course she is so nice she will pose for the selfies and all, but remember, she is trying to enjoy
the show or atmosphere herself as a regular person would.
 
But placement is always important in all of Lana's albums, all of which are concept albums.
(more after Lust for life is released)
 
@Mr.Meeseeks glad to see another poster who loves concept albums and sees that all of hers are.

I originally posted this in the Pre-Release thread, but thought it'd get more attention here. Wanna explain something I happened to notice while checking out the snippets.

I honestly think "Love" was meant to set the mood for the album overall. It has the guitar, but it has the "wall of sound" hip-hop to it, as well. And then, from "Lust for Life" to "Coachella", it really is like a stretch of sexy, summer-driven hip-hop tracks and ends on a positive track that is political - and then, we get all the guitars, and the veteran folk singers (or related to them) rather than the contemporary artists that feature in the first half. I think it's very intentional that the last half is going to have a Woodstock-vibe, only through some of the familiar hip-hop additions that modernize classic sounds. "Tomorrow Never Came" sounds very 1967-71 rock. Definitely see where she's connecting the "two generations", and why she probably feels kids looking into vintage music may find it denser if they understand that history is sort of repeating itself through the anxiety of the current political American heat. It's exactly what she said she wanted to do with the album, and her chronology of the tracks seems to really suit that concept. Even at around the half-point of the album, if you count "Love" as just the intro/combination of the two sounds, and "Coachella" the track that moves the hip-hop into its poltical, folk-driven side.
 
Lana still doing concept, for sure. 
 
A SORT OF CHART (lol):
 
INTRODUCTION (folk guitar strings open the album, but blends into spacey, "wall-to-wall" hip-hop noises)
01. Love
 
SEXY, SUMMER-Y, HIP-HOP (7 "wall-to-wall" hip-hop noises)
02. Lust for Life
03. 13 Beaches
04. Cherry
05. White Mustang
06. Summer Bummer
07. Groupie Love
08. In My Feelings
 
THE BRIDGE (a more stripped back hip-hop beat, letting the album kind of cool off a bit before getting more poltically-minded)
09. Coachella..
 
POLITICAL "GANGSTA" FOLKY-Y (7 "wall-to-wall" hip-hop noises, but more laid back, with heavier guitar and folk featured artists)
10. God Bless America..
11. When the War Was at War...
12. Beautiful People, Beautiful Problems
13. Tomorrow Never Came
14. Heroin
15. Change
16. Get Free
 
It's like she takes us from "Coachella" to "Woodstock" by using that track as a bridge. As I predicted, the song works in concept of the album; but releasing it as a single is bizarre. From what we have in the snippets, this album seems to be very well-thought out. 

I originally posted this in the Pre-Release thread, but thought it'd get more attention here. Wanna explain something I happened to notice while checking out the snippets.

I honestly think "Love" was meant to set the mood for the album overall. It has the guitar, but it has the "wall of sound" hip-hop to it, as well. And then, from "Lust for Life" to "Coachella", it really is like a stretch of sexy, summer-driven hip-hop tracks and ends on a positive track that is political - and then, we get all the guitars, and the veteran folk singers (or related to them) rather than the contemporary artists that feature in the first half. I think it's very intentional that the last half is going to have a Woodstock-vibe, only through some of the familiar hip-hop additions that modernize classic sounds. "Tomorrow Never Came" sounds very 1967-71 rock. Definitely see where she's connecting the "two generations", and why she probably feels kids looking into vintage music may find it denser if they understand that history is sort of repeating itself through the anxiety of the current political American heat. It's exactly what she said she wanted to do with the album, and her chronology of the tracks seems to really suit that concept. Even at around the half-point of the album, if you count "Love" as just the intro/combination of the two sounds, and "Coachella" the track that moves the hip-hop into its poltical, folk-driven side.
 
Lana still doing concept, for sure. 
 
A SORT OF CHART (lol):
 
INTRODUCTION (folk guitar strings open the album, but blends into spacey, "wall-to-wall" hip-hop noises)
01. Love
 
SEXY, SUMMER-Y, HIP-HOP (7 "wall-to-wall" hip-hop noises)
02. Lust for Life
03. 13 Beaches
04. Cherry
05. White Mustang
06. Summer Bummer
07. Groupie Love
08. In My Feelings
 
THE BRIDGE (a more stripped back hip-hop beat, letting the album kind of cool off a bit before getting more poltically-minded)
09. Coachella..
 
POLITICAL "GANGSTA" FOLKY-Y (7 "wall-to-wall" hip-hop noises, but more laid back, with heavier guitar and folk featured artists)
10. God Bless America..
11. When the War Was at War...
12. Beautiful People, Beautiful Problems
13. Tomorrow Never Came
14. Heroin
15. Change
16. Get Free
 
It's like she takes us from "Coachella" to "Woodstock" by using that track as a bridge. As I predicted, the song works in concept of the album; but releasing it as a single is bizarre. From what we have in the snippets, this album seems to be very well-thought out.