IanadeIrey

Exaaaactly my thoughts! I wouldn’t want to spoil first listen with such bad quality lmao. To each their own though

How can you guys even tell what’s going on with the songs if there are tags all over them. Is it not just a jumble of psychotic sounds ☠️

Omg have fun and here’s to hoping you get a chance to meet her!

What the hell. I literally went into another thread for like 3 minutes and it happened. Ok. Bye and see you all in 3 weeks

“Pebble Beach dry texture spray” on Sheridan’s story - is she going to serve beachy waves? (Don’t let HRH Collection know ☠️)

The funny thing is, I wouldn’t even think to call those two records “bombastic” — maybe there’s more of an emphasis on intentional production — but I ascertained that from the interview too. It’s totally her prerogative, and I think when fans like you or @anwdelrey say they wish for her to go back to “world-building”, that’s just expressing a preference for exactly that. Which is totally valid!

When Lana says “world-building” I think she’s simply using that phrase to reflect a shift in the lyrical sensibility (as it relates to sonics) that she employs on the records. There has always been evolution throughout her records, but I think she’s talking about how lyrical motifs (e.g. roses, red dresses) that invoke nostalgia are bolstered with sonics to evoke an overall feeling. That’s “world-building”. Over the years, however, she’s focused less on the mood of the music and has been more lyric-driven, almost narrating events as they are, rather than injecting a dose of aestheticism into it. So I think people here understand what she means by “world-building” - it’s just a matter of people’s preferences.

This 1000% - and the funny thing is, even when a previously-released song is attached to the unheard one, you listen to it, and know that you wouldn’t have drawn those comparisons yourself ☠️ I remember the Blue Banisters title track being compared to Yosemite and I Don’t Wanna Go, which was totally not the case. Same thing with LMLYLAW and MAC.

Right, and I think he was saying that rhetorically and not literally - coming from the standpoint of the thematics rather than the aesthetics - and that’s probably why Lana went with Ocean Blvd too (since it poses a question that is immediately evocative - and all her album titles have been more evocative than direct).

BoZ saying that the album should have been called “The Grants” carries more weight now - since Lana said to Billboard that the album is all about family of origin…curious to hear that one the most now.

I have to laugh when we start to doubt if we’ll like the songs because of what the insiders say. As the stoics say - don’t suffer imagined troubles. Be completely static until you actually hear them and you’ll be way more at peace! ❤️

2012–2016 tour outfits were just untouchable the Lana Del Rey look.

I think on the whole, people should approach the way they think about their music taste like we would religion/spirituality. Yes, it’s amazing to be able to share thoughts on our favourite records with other fans, I LOVE that! But I also think we get into territory where preferences are a product of groupthink and then debates about taste break out because people want their opinions to be shared. But the reality is - your own relationship to the songs you enjoy should be sacred and personal - and no person can challenge you on that. In the same way that a relationship to God or a spirit or whatever is often more fulfilling than a congregation that may have dogmatic or exclusionary values. (Don’t anyone accuse me of wanting an echo chamber because don’t get it twisted - it’s not that )

The talk about her story reminds me of something my friend and I say alllll the time - which is why is it that the girlies who say they’re protecting their peace are the most bothered ☠️ Love Moonlight though! Can’t wait to see her in May ❤️

Wait why are you calling her that 😭

What does this mean. Did I miss something 💀

Lana just commented on The Weeknd’s latest selfie lol -

When the album inevitably leaks, someone tag me, please. Because then it’s my time to leave the site for the remaining week or two until release. Sad that I’ll miss your freak-outs over the amazing new songs! But 9 PM PST on the 23rd is a holiday, so my ears shall abstain until then.

I only buy the vinyl from my favourite artists because I like the physicality of ownership that comes with a record you can just put on in your living room. Everything else, like t-shirts or jewelry (as cool as they may be), I wouldn’t really wear anywhere lol.

This is really insightful. And I actually think it could have to do with how she “transformed” in the eyes of Sean. At first she “called him up” and he “c[a]me into [her] bedroom” — which she calls a “sacred place” in Violet — and this reflects the Lana who represents wholesome Americana and domestic idealism. This is what Lana was reaching for in Chemtrails and was en route to achieving in her relationship with Sean. But then it “ended up” that they “fuck[ed] on the hotel floor” — so now this previous act of lovemaking (Lana’s “legacy” as described in Salamander) that occurred in her “sacred place” is now a mere hookup. And given the nature in which he approached her for this hookup as revealed by Lana on TikTok, she was non-consensually placed into a mistress role, that of an “American Whore”. So, before, it was about having someone to love her. But after this “transformation” that had become externalized onto her by Sean, she had no choice but to live “the experience of being an American Whore.”

The fan from the Instagram live on Blue Banisters release day - his name is Zach

Lol I got you! Thank you for bringing it up in the first place ❤️ Definitely a song with so many layers, and I’m totally with you on the Jimmy segment. In my opinion, she’s telling in the first part of the song, but then showing in the second part of the song - she now embodies “the experience of being an American Whore” through a seemingly fun and loose breakdown. With the samples of the NFR title track, the Jimmy segment feels a bit like a pastiche of two Lanas (the critics’ darling, Lana and the subject of harsh criticism, Lana) - it takes the song that represents Lana’s most critically-acclaimed career-period and periodically distorts it against hip-hop beats and more vibe-y than narrative-driven lyrics. This, in my opinion, is a juxtaposition that marries the Lana who says she lives in Rosemead and the Lana who’s at the Ramada. So I think she’s just representing the lyrics from earlier in the song, but through sonics rather than lyrics. And I think she just wanted to fuck around in the studio with Jack lol. With her fashion choices and behaviour on social media over the last year-and-a-half, it really seems like she’s having fun with this image of the “American Whore” and reclaiming this stigmatized label assigned to her (by the media, and, perhaps as a result of how things ended with a certain someone based on the lyrics she sang on TikTok).

So true. And she divulged so much about her life that gives real context to the newer music/poetry. Thinking about that talk she had with Zach where she laid everything out on the table about Sean - and how it triggered this kind of historical “hysteria” where she got in touch with her “panicked” side (which links to the Interview Mag 2020 video and the subtitle, Insights from an *Institution*), chemistry never dying between people, etc. We have a lot to look out for now..

Omg yes your mind. She had been letting these Ocean Blvd thoughts simmer (and splash out of the pot), I fear. First the Harry Nilsson/Don’t Forget Me references, now this. We have to rewatch that livestream once the album is out lol

I think you’re right—and sorry no one is engaging meaningfully with you on this because what you’re saying has so much merit lol. Yes, the lyric has its first dimension in meaning (where she says she’s at home in Rosemead but really she’s at the Ramada Inn for a sexual encounter). But the line represents more than just that - it’s not purely literal. It expresses a kind of dichotomy that the media often captures about Lana. The line contains within itself the oscillation between a wholesome domestic idealism and a more suggestive, perhaps crass femme fatale-ism that the public loves to project onto Lana. They tend to both fetishize and weaponize these two conceptions of Lana in their think-pieces, and she completely toys with that in the line, concluding that “it doesn’t really matter” whether or not she’s presenting herself as one or the other.