paradisetropico

If HiaB gets released and has something to do with this 'longer project', then I'm sure it's gonna be amazing. The snipped of HiaB was a lil basic lyric wise but it was a cute song. If Lana reworked it with Jack it's probs gonna be way better than the snippet she posted. The lyrics of MAC and Venice Bitch are so good, a song with the lyrics "Happiness is a Butterfly, try to catch it like every night" wouldn't fit in.

Oh no! If its footage from a longer project and the girls in the video are miming Happiness Is A Butterfly... Does that mean Happiness Is A Butterfly alive and breathing? 

Chuck just tweeted a longer upcoming project soon to come from the split footage from VB & MAC...

Chuck just tweeted a longer upcoming project soon to come from the split footage from VB & MAC...

Chuck just tweeted a longer upcoming project soon to come from the split footage from VB & MAC...

Chuck just tweeted a longer upcoming project soon to come from the split footage from VB & MAC...

Chuck just tweeted a longer upcoming project soon to come from the split footage from VB & MAC...

she mentioned the record has 11 songs (including MAC & VB)
 I hope she is growing her hair out !!!!
and getting ideas for videos
(at least for the 2 she said are the best she has ever written before) 
fingers crossed 

Also guys I cannot believe we actually made it out of the trap beats  
 
Now can people stop shitting on Jack as a producer??? I knew him and Lana would make amazing music together, Jack is such a talented and versatile producer

Venice Bitch feels shorter than Change

I just need better visuals for these masterpieces. The cover of VB is literally a picture I could have taken with my phone if I went to LA. I wanna see her serving Venice vibes

For Venice Bitch, I'm reminded of the Doors, especially wrt the moog, and maybe it's crossed a little with Simon and Garfunkel. She's influenced by artists like Cat Power and Father John Misty, who do longer tracks on occasion, and Jonathon Wilson, who do longer tracks plus significant jamming. I hope she took the primary role in creating the interlude music, as having longish instrumentals is a really big change for her, and one of the obvious ways she can grow musically. Of course with experiments come failures as well as successes, but I don't think of this as a failure by any stretch. However, I do hope the album has more "torch-singing" in the other songs, as I kind of miss that.
 
With regards the album title: Hopefully, the descendents of Norman Rockwell (who died in 1978) are Lana stans and will let the title stand. It's a title that will really discomfit award shows that nominate it. What gives me hope from the album title, being as unexpected as it is, is that "Lana Del Ray AKA Lizzy Grant" and "May Jailer: Sirens" would make the sequence of released album titles a bit more reasonable, so maybe the probability is higher she (re-)release these works?  And maybe NFR will disinhibit her enough to release some unreleased collections (with surprising titles). With this artist it may be her diversity that ultimately sets her apart, which is why I stan the unreleased/suppressed stuff (as extensions of that diversity) and am not turned off by a direction change.
As for the song NFR? It will be interesting (for me, at least) to compare it to Ani Difranco's "Napoleon" (which also uses the word "fucking") and Carly Simon's "You're so vain", both classics in the genre of egotistical-artist-diss songs.

This is my most favorite post in this thread

I think it's just because they have finally given up on her lol her management have been terrible and very controlling but I think they have finally realised Lana will do whatever the fuck she wants or she will do nothing at all

I think I am coming around to the song. I read the lyrics and appreciate them. Verse 4 is staying in my head.
 
Back in the garden,
We're getting high now, because we're older.
Me, myself, I like diamonds
My baby, crimson and clover.

Man p4k have really had to eat their words the last few years. The BtD review was so scathing (and not very well written tbh), they pretty much designated her as flavour of month who would not be remembered after the video games hype died down. They then spent the next 2 albums calling her a bad feminist, saying her dad bought her career etc. I guess we've finally come full circle and lana is finally the real deal, here to save music.

Best New Track  by Pitchfork https://pitchfork.com/reviews/tracks/lana-del-rey-venice-bitch/
 
whew the ACCLAIM 

I've literally had this on repeat for hours now. I can't even remember the last time I was this obsessed with a new Lana song; probably back when Honeymoon came out and I discovered The Blackest Day.

I think it's funny how everybody knows that Lana flirts with both alternative and pop music and those pop-stans are kinda pissed off with this song. Girl, Lana never wanted to be the next Madonna or something like that

Interscope only has a few mainstream artists, but you think they’d drop Lana who has earned them millions?
 
This website is so damn dumb.

For me, it's just that it's personally so beautiful, finding the grittiness in the strangest of places, and of course, time driving by, or like watching from the passenger's side, at freeways, when there's traffic, how people just live while they're seated going somewhere. It's like easy people watching imo 
 
Genuinely in love with it. For me, it's like they almost compliment each other. MAC is a bit more polished through lack of color, but VB is more on a softer feminine side. 
 
Idk which to choose atm if we even have to ah 

okay I never would've predicted she'd release a 10 min track, or that her label would even let her tbh. shook.

GIRL i love this theory so fucking much i'm gonna shed real tears
 
Norman Fucking Rockwell era already making me feel like the drunk girl @ the party telling everyone she loves them.... i have so many feelings rn and they're all positive

I'm not gonna place this with her 'LDR' discography personally, i know it sounds a bit cheesy but it fits better looking at her Lizzy Grant section imho; of course her lifelong discography would be the two "lists" compiled together but I can't deny that the title, while bad sounding for a LDR record- is perfect for something we'd expect from her pre-BtD, pre-blowup, pre-pop altogether. Even the damn cover isn't her in glam with a headshot, like every other LDR record was; it's just her set to a slice of life setting that evokes emotion, much like her AKA cover
 
jus..idk hear me out n think about it
 
 
Sirens
Kill Kill
Lizzy Grant AKA Lana Del Ray
Norman Fucking Rockwell
 
---
 
Born to Die
Paradise
Ultraviolence
Honeymoon
Lust for Life
 
it also lowkey psyches me out seeing how complete of a story her LDR discography is, like it is a genuine study somebody could conduct and write tens of pages and essays on. The first ever opening instrumental to LDRs discog is from "Born to Die" with opulent violins and grandiose emotion; "Feet don't fail me now, take me to that finish line"
 
& with Get Free the first line is literally "Finally, I'm crossing the threshold from the ordinary world- to the reveal of my heart"- and ends  the semi-opulence we saw at the front of LfL and replaces it with ocean sounds- the exact opposite of the layered more modern production seen in BtD, something more down to Earth and grounded in realism and sanctity. even looking at the titles of the LDR records it tells a story, from the 3 words to the 1 and then finishing at the 3. 
 
While I hope to god she doesn't fade her glamorous persona for good I sincerely wouldn't be surprised if "Lana Del Rey" was over; or I'm being a casual fag and reading into things way too much and she'll go back to a LfL/Paradise sounds with more formulaic and boppier beats for LDR7 and completely shatter this theory

I'm so in love with these songs, and all the creative decisions she's making -- I've never been so excited for an album, nonetheless one by Lana. 
 
I have so many thoughts right now
 
Like, as much as I loved LFL, it seems like such an anticlimax compared to this. It's fun enough to listen to, but it really does feel empty compared to what she's given us here, already. I already love this for the same reasons I love AKA so damn much: it's Lana pursuing what she's passionate about, creating extremely unique, layered music. There's thought, soul, and inspiration behind it, and it shows. 
 
As for how strongly the era is already dividing the fans, I think it's brilliant. I haven't seen such outrage or vitriol directed at Lana for her creative choices since Born to Die, and I think it's absolutely amazing this time around, because she's consciously making provocative decisions. Like, you can't title an album Norman Fucking Rockwell without knowing it's going to give you some hell. This is the same woman, the same provocateur, that once raised eyebrows in the extreme for opening a track with the line "My pussy tastes like Pepsi-Cola". She's back.
 
I love that, especially with Venice Bitch, she's returning to that idea of nostalgia and classic Americana that we haven't seen in years and years, but as someone here said (apologies that I can't remember who), it's matured. She's become the most adept at writing in her own style that she's ever, ever been, successfully combining her starry-eyed view of the past and America (hence the reference to Rockwell, who painted an idealistic, wholesome America) with the reckless abandon and controversial attitude that made her famous in the first place, which leads us to the big ol' "fucking" slapped right in the middle of the name of an American icon.  It's heart without excessive sentimentality, and attitude without bitterness. 
 
I think these things combined (and things we have yet to see) will propel NFR to classic-level, like Born to Die or moreso -- maybe not in terms of widespread fan adoration, but in terms of being a stylish, smart, thoughtful and timeless record. 
 
I'm over the moon