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rdp

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  2. Posted

     

    "Then what am I to do?" "I'm not fond of hay," replied the Hip-po-gy-raf; Scarecrow. "The bird is Polychrome, the Rainbow's Do you remember when you took your dog to the local veterinarian for the last time? ,

    Dorothy thanked her good friend and kissed the lovely Ruler gratefully. now," she added, turning to the boy, "it is your turn." where to buy legitimate Singulair in Maryland without prescription online cheap pharmacy Singulair in Louisiana no prescription 

     

    is this a monologue from Tropico

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  4. Posted

     

    She could try having her own vocals of the song playing in the background for support while her live voice is still dominant, for example Rihanna does that a l l  t h e  t i m e.

     

     

    She does though, if you listen to the performances of West Coast, Ultraviolence and Ride you'll hear a backing track in some parts, esp the chorus.

     

    I agree that it sounds more ~~intimate with only her singing, but some backing vocalists would sound way nicer than the backing track she uses in those three songs.

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  5. Posted

    If the media judges her for being a sexually active woman, it's just the media's usual misogynistic ways. It's funny that you mention Katy Perry and Taylor Swift since they are also constantly targeted and maligned just for dating or going out with guys.

     

    And really, this is the same woman who created a 10 minute music video glorifying prostitution as an way to freeing yourself. 

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  9. Posted

    Well the interview seems very... weird.

     

    http://www.rollingstone.com/music/news/lana-del-rey-is-rocks-saddest-baddest-diva-inside-the-new-issue-20140716

     

     

    On how she wants people to hear lyrics like "he hurt me and it felt like true love":  "I just don't want them to hear it at all," she says. "I'm very selfish. I make everything for me, kind of. I mean, every little thing, down to the guitar and the drums. It's just for me… I don't want them to hear it and think about it. It's none of their business!"

     

    :awkney:

    4

  22. Posted

    First reviews are up.

     

    The Guardian - 4/5

    http://www.theguardian.com/music/2014/jun/12/lana-del-rey-ultraviolence-review

     

    Your enjoyment of Ultraviolence may thus depend on how easily you can blot this stuff out. On the one hand, it's pretty persistently reiterated; on the other, the music does its best to make you ignore it. If it isn't exactly a radical musical departure from Born to Die, Ultraviolence can content itself with doing the same thing noticeably better. Del Rey and her new producer, the Black Keys' Dan Auerbach, have toned down that album's tendency toward orchestral bombast, replacing it with a beautiful, gauzy shimmer of tremolo guitars and reverb-drenched drums, with a lot of attention clearly paid to subtle details: the scamper of brushed snare that propels you into the chorus of Shades of Cool; the tension caused at the start of Pretty When I Cry by allowing the vocal to crack and veer off-key; the way the queasy change of tempo in West Coast is heralded by a musical quotation from the Beatles' And I Love Her, as if to emphasise the gulf between that song's sweetly uncomplicated romance and the boozily dysfunctional relationship depicted here.

     

    Gigwise - 9/10

    http://www.gigwise.com/news/91745/album-review-lana-del-rey---ultraviolence

    The album's title, a reference to Anthony Burgess's controversial novella A Clockwork Orange, is an appropriate marker for the album's tone. It's a dark, uneasy offering, and when it's at its best, it drips with a beauty that is as compelling as it is disturbing. Del Rey's vocals are at time angelic, at times haunting and discomforting - helped along by the carefully crafted mess of noise that accompanies them.

     

    Slant - 3.5/5

    http://www.slantmagazine.com/music/review/lana-del-rey-ultraviolence

     

     

    As on Born to Die, though, too much consistency can be a long player's Achilles' heel. Repeated listens reveal nuances, like the acoustic guitar bristling beneath the blues-rock verses of "Sad Girl" and the male backing vocals layering the final chorus of "Brooklyn Baby," but the album's steadfast narcotic tempo and Del Rey's languid delivery, doused in shoegaze-style reverb throughout, conjure a hazy picture of the singer swaying wearily in some sweltering sweat-lodge of a dive in the deep South. An appealing, cinematic image, no doubt, but one that, after 14 tracks, can prove to be enervating.

     

    NY Daily News (tumblr_inline_n3xxcr6BxM1r1hxr0.gif) - 2/5

    http://www.nydailynews.com/entertainment/music-arts/lana-del-rey-new-album-bad-article-1.1826941

    The new LP repeats both the decadent Del Rey persona and the murky sound of her breakthrough. But at least it varies the melodies some, and adds a bit more action. Then again, it's not like her sound could get more inert - or monotonal.

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  24. Posted

    The first five songs, Black Beauty, Florida Kilos and Old Money are amazing, incredible, exactly what I expected from this new sound etc.

     

    FMWUTTT and MPG don't really work. The "I fucked my way up to the top" line is really the only lyric that gives some kind of theme, the other parts of the song are sorta random. In the 1st verse it seems like a parody of herself, then she's talking about someone and then a lover (?). There's something empty/cold about the overall atmosphere of MPG that bugs me (though that's probably intentional).

     

    Sad Girl and PWYC are really flat sounding rn but maybe they'll grow on me.

     

    Guns and Roses is terrible.

     

    That's all I got from these first few listens.

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