Future Jazz

well... some people were kind enough to give us countless titles and countless snippets this year and the years before, so we know of at least 20 actual songs that are circulating and some people implied we were going to get things this Christmas so... in light of this, most of us would be lying if we said laptop demos do the trick and i think most of us would take one song from the uv / honeymoon era over 20 laptop demos

what a leakfest indeed

queen of hearts is so funny does anyone remember a post on here with a gif and "don't stop and queen of hearts alongside the other ultraviolence outtakes"?

where is it

i agree what we've had so far is underwhelming, it's better than nothing, but i'd certainly take one unleaked song over 10 unedited files and i have no idea why they were edited in the first place either so i hope we get something else but i think this year was still okay, we did get like 3 or 4 unleaked songs that weren't concept demos which is already better than the past few years, but yeah, if we get like 15 new snippets/titles per year and 3 new songs, it's clear we won't get most of them until we're in our seventies

or people saying they don't have unidentified flying bill and then sharing the original file after it leaked

it's unfinished but there was still a somewhat important part of queen of hearts we did not hear prior to the leak... maybe it's the same for don't stop i think someone said the only vocals were "don't... stop" but we have been lied to many times

yeah because having unleaked songs is a way to get more unleaked songs and they don't want what they have to lose its value i guess... wouldn't be that big of a deal if the stuff that people have actually leaked, that way we'd all listen to it i get wanting to keep stuff for themselves even though i would personally feel bad for not sharing but the one thing i truly don't get is teasing without coming through

to be fair, the thought that we will hear them eventually isn't that reassuring, we did get songs this year but only a tiny minority of what was teased. it took 10 years to get hollywood's dead final and there are songs we've know about for 10 years, like coconut and key lime pie, which we will probably never, ever get. it took 10 years to get the information that piano theme and morricone were instrumental only, and the list goes on. my point is: in view of the past few years, realistically speaking, i bet most of these songs we just learned about will still be unleaked in 2027. dope, sunset boulevard, sugary sweet, these titles have been around for years. snippets too, like don't stop, la who am i, california demo, it has been literal years

oh so two people implied they were going to leak stuff and we aren’t getting shit? how very surprising! we are so used to getting songs especially when we have snippets for like 40 of them

excuse me? Palestine, a land of its own, was given statehood, not to mention over a limited part of its territory, out of the blue (on a silver platter)? what the hell does the rightfulness of rebelling against the Ottoman Empire have to do with the legitimacy of the current massacre? jesus i swear some of you do not realize what thousands of deaths mean and also have no concept of decency when commenting on those events

i know you know that the Hamas isn't Palestinians and that denouncing the ongoing massacre does in no way equate to supporting the Hamas, but my problem with articles that are worded out that way is: do you think the Hamas has the power to 'annihilate Israel' the way Israel has the power to annihilate Palestinian people, which it is not only announcing (even though it has announced it), but rather actively doing?

How is targeting schools, mosques, hospitals, the very road which people were supposed to evacuate on, not targeting civilians? Can you imagine having to leave everything within 24 hours, having to leave everything behind, living without electricity and food supply for now more than two weeks, especially when you were already displaced once or twice? The trauma that is inflicted on children? Hospitals having to run without electricity, without anesthesia? Do you genuinely think there’s no targeting civilians here? The number of Palestinian deaths is 5 times as big as that of Israeli deaths, and it’s only going to get worse given the power of the Israeli army, the large support it gets - from Biden, among others - and the fact that despite the ethnic cleansing, despite the dehumanizing language that comes with it, despite the assassination of journalists, the vast majority of the West isn’t lifting a finger. In my country, demonstrations in support of Palestinians - not Hamas, Palestinians - are even forbidden. I don’t get how anyone can genuinely think that cutting electricity and supply to 2.3 million people, when you’re incredibly more powerful than your enemy, which, by the way, is the only “force” on that “side” because Israel has completely killed each and every form of peaceful action, isn’t targeting civilians.

would anyone have a video for chemtrails where you can actually hear her? i'm sorry but on the video of the full concert you almost can't hear her on chemtrails which is such a shame

but for me, as often with Lana, there is a major contrast between the concept of the album, which is called NFR for the reason you said, and its content which, imo, isn’t political or even social enough to justify the concept. i think that very often she extrapolates, takes things that characterize a few songs and applies them to the album as a whole, like when she said ultraviolence was almost unlistenable, or that many/most tracks on lfl were almost 6 minutes long, or that chemtrails was folky and guitar-based and so on. so what i’m saying is that both the fans and the critics agreed to paint out this album to be a social commentary, and imo, there’s just not enough of it for this to be true, when you look at the lyrics. i could find many examples for lyrics on uv or hm that are just as social or relevant to society as “a modern-day woman with a weak constitution”. what this album is, however, is an album about herself and about her love stories, as 95% of the lyrics are solely about that, so that’s what i choose to see it as. and i don’t think her metaphors or songwriting style makes it more characteristic of an educated person than her previous albums. maybe blue banisters and ocean blvd would, but again, even if there is hope is a dangerous thing, the rest of the album isn’t lyrically outstanding in comparison to her previous work

but where do you see the educated nature of her point of view on nfr? i’m genuinely asking because i can’t see it

I definitely agree with @Vertimus: this album is not the social commentary people paint it to be. It’s all about her own life and it can be interpreted in relationship to modern-day society, just like any other album she made can be. There are a few references to the end of the world, but that’s really not enough to make it what it is considered to be. I think even if you tried, it’d very hard to point out even just a few “points” she makes in this album about society. The quality of the album is another question, I personally really like it

I have no words for how much I love the title track. I really have no words

the part between a&w and kintsugi feels like a bit empty but i still absolutely love this album

honestly i don’t really agree with that, NFR is also an album with quite a few rockier / upbeat / surfy songs, i don’t think it’s that much in the vein of change and get free, not many songs on nfr were piano-based or confessional like hope, dance till we die sounds nothing like blue banisters and sweet carolina’s lyrics have similarities with those of 3-4 songs on ocean blvd. i mean, there’s validity in saying that the last songs of the record n have similarities with the record n+1, but i don’t agree that they have more similarities with them than the songs on the other parts of the album. like, text book and black bathing suit foreshadow the experimental side of ocean blvd, if you lie down with me has a similar melody to ocean blvd, the themes of text book, blue banisters and arcadia (including people’s perception of her body) are also further explored on ocean blvd, and the same goes for the other albums imo

My thoughts on this are that this album is the rawest, the most sincere, the most personal thing she has ever put out. There’s so much to relate to or to think about, whether it be family themes, trauma, love, loss, friendship, observing the world, evolving, building one’s life. It’s just so heartfelt and this is why the vast majority of us love it. In 2021, literally none of those 80 minutes existed and she managed to craft them all. It’s incredible because of how much emotion there is in every single minute of that record, it’s incredible to think all of this could have never been created and it still was. I think it’s not moving in the exact same way as her older work was, because I think what she used to do was simpler and maybe more directly impactful so it got more to the point: I think the structures were more clearly delineated, the melodies too, the lyrics were less enigmatic, there was definitely more world-building, and I miss this older style too sometimes. It’s hard to explain, but I think we can all agree she doesn’t make songs like Old Money or Dragonslayer anymore, without being able to pin down what it is exactly there used to be and there can’t be anymore. But her new music has a lot of qualities and I think more of us will be glad she took that path when the undeserved Chemtrails / Blue Banisters hate fades away. I personally hope she’s going to continue to explore whatever she feels like exploring because I’ve been satisfied with and deeply moved by all of her albums. I would also love for her to go back to her lower register, to starting electric guitars again, or to do songs that have bridges with a different chord progression than the verses (an element that used to really enrich the songs up until the Honeymoon era), but I think it’s important to realize the worth of what we got and to be thankful for it and for the unique path she has taken. There’s so much we got (including her unreleased work) and so much that we’re going to get and we can not even imagine yet.

the title track is top 10 in her discography for me, i literally have no words for how much emotion and subtlety there is in every single note it contains. never in her discography have i seen such a beautiful instrumental build-up. the melody and the lyrics are magnificent. it’s one of her strongest songs and to me it’s really unique because of the vocals, the backup singers and the lyrics… i mean even after her vocals end and there’s only the instrumental, it’s still so strong and moving…

yeah, norman fucking rockwell literally has the same chords for love song, happiness is a butterfly, california… not to mention the lyrics are really not that great in comparison to all that followed and the vocals not that great in comparison to all that came before. to me it’s her most uninspired record even though i still think it’s good because it’s Lana and there are some great songs chemtrails is a lot more humble and unique in my opinion

i love the title track so much, it’s definitely the best song on the album for me and i’m so glad i waited until the album release to listen to it. i would really recommend anyone who feels like it to do it, it’s 100% worth it in terms of effect the first listen has on you