BluVelvUnderground

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. 

"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 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 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. 

"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. 

"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. 

"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 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 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 ("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 ("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 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 ("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 ("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 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 ("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 ("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. 

What's even cooler, is that when you look at "Love" and "Coachella" as the intro/bridge, both stypes of the halves have exactly seven songs each. So fascinating. 

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 ("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 ("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 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 ("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 ("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 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 ("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 ("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 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 ("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 ("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.