IanadeIrey

Every day I thank God that Lana just became more and more lyric-centric with her music, because what a generous self-reflection she’s shared that has truly changed the way we move through the world.

Keeping in theme with sticking it to our exes, American Whore on Sean’s wedding anniversary would certainly be a choice given his conservatism.

I hope you will be too, and that description came from BoZ, right? He did say that the album was amazing for him, as someone who isn’t a fan of Lana to the extent that most people here are. And Kintsugi, the user here, did say it was the best song ever - so obviously there’s some variation among what people think. So don’t let a mere opinion get the best of you! <3 Focus on what you think once you hear it! Edit: Oop King @Kintsugi really set the record straight on the vocals.

Yes, she posted it herself and Apple Music updated the track listing with those titles!

I don’t know, though…you’d be surprised about the magic that can be distilled into a song with that (unflattering and very subjective) description! Hope is a dangerous thing is piano all throughout, yet is arguably her most emotive work to date. I’m imagining something in that vein.

The use of samples on a few songs really is in line with the automatic writing process. It’s a form of completely unaffected inspiration, in that she explicitly includes the inspiration on these songs when maybe she didn’t before, and the inspiration was more conducive to the writing process than the final song. I think that’s really endearing and gives a candid quality to the songs, in a way (even more than it already is with Lana). It reminds me of how the concept demo for Never Let Me Go is literally her improvising and working lyrics and melodies out in real time over a whole other song—with only mere elements adjacent to that “sampled” song being apparent in the final version. By doing this, she lets the listeners in even more than she does with just her lyrics alone, because there are two layers of an “unaffected” quality going on here.

Venice Bitch is easily in the top 3 of her discography, alongside West Coast and Honeymoon.

Oh wow, just caught up with this. Absolute props to everyone for acting quickly (and within jurisdiction, of course) and hope nothing escalates further on Lana’s end. The woes of being in the public eye are real, and Lana handles it very gracefully despite the ever troubling circumstances.

Aw lol don’t say that! You came to the right place with that question, because on this site, the whole point is to stay plugged into what’s going on with the record and we’re always bringing in things we hear from other sources for everyone’s collective thoughts and insight — so don’t feel bad at all!

Contemplating the Culture as the Country Calls for Convergence: The Typewritten Telecasts of Lana Del Rey

No Context LanaBoards

My Thoughts Are Not Borrowed - Just Blue 🌬

“Liz, I’m Calling from Calihoma” for the third album in a row, because clearly my powers gave us “Paris, Texas”

Shades of Cool would be perfect for the final scene of a neo-noir film set in midcentury Los Angeles…and the screen fades to black in the last seconds of the song.

@bored your posts inspired me to dig out this old timeline I pieced together using pieces of information and clues Lana dropped about writing Lust for Life! Though a bit outdated in terms of speculation as we’ve gotten more leaks and insider info related to the album over the years, I think this could be an accurate timeline for the songs and we can see where things took shape -

Can’t wait! The title is beautiful

Peppers is still such a camp title, sorry, I can’t get over that one. It’s up there with Fishtail. Though I will say, Taco Truck x VB feels oddly fitting for Lana because I can hypothesize her vision for that one. Perhaps the Taco Truck comes into play the way the Mariners Apartment Complex did!

Aw lol I didn’t feel the need to quote you because I did not want to wrongly ambush you, nor did I want to state any issue with your points at all! I think there are some other voices around here that definitely attribute Lana’s mastery solely to Jack and so I was speaking more generally to that phenomenon :-) I totally agree about how Lana and Jack had this kind of partnership that marked a new artistic period in both of their careers, and you’re so right about how that snowballed the kind of work Jack did with other artists. And thank you! But I have to say - I will take what you say seriously because you are a valued member of this community, and everyone’s opinion (so long as it’s respectful and not meant to troll lol) is valued! <3

I don’t think the music has gotten better or worse. It’s all been brilliant, but obviously each record has had a distinct sonic landscape that may better amplify certain qualities and strengths of Lana’s musical output. That said, I don’t think Jack Antonoff has done anything to actualize or legitimize Lana as an artist — if anything, Lana gave Jack the opportunity to reveal his true musicianship with a more classic approach to production, because prior to working with Lana, Jack was known almost exclusively for unique pop music with an 80s flair. To say that Jack helped Lana achieve a particular vision wouldn’t be an untrue statement, but let’s not overstate it. Her compositions dating back to as early as 2005 contain a sophistication that cannot be replicated and at the time, were completely unaffected by co-writers or producers. An artist of Lana’s stature is allowed to enlist a variety of styles and embody a variety of lyrical moods in her writing, and still be considered a master of her craft completely on her own.

I hate to use released songs as comparison for ones we haven't heard, but the description of Kintsugi sounds like it's giving Summer Bummer minus the beat – murmuring vocals over a menacing piano. Contemplatively seductive.

I'm in my year of rage and retribution (not rest and relaxation) so I'm really excited for A&W and its place on the record as an angry anthem – but I love that there seems to be so much variety and intensity in terms of the sonic landscape, and it's definitely going to be a cathartic record. I also find it so interesting that the last few tracks on this record seem to pick up in pace, when Lana has almost exclusively winded her albums down in production. Perhaps a jumping off point for something more experimental and hard in the record(s) to come?

Same! I hope it’s exactly the case that you mentioned, with it being how she has to restart her sequencing of the poems and the pictures, because that’s certainly less of a loss than the actual poems themselves. Patent Leather Do-Over is truly one of her best written works ever, and probably her most sophisticated poem, in my opinion - and I imagine the rest of the book was in that vein and of that caliber so it’s truly a shame what happened.

I want to know this as well, and would love to have insight into her writing process right now. And you’re so right - obviously it won’t be word for word, but she did say that when a poem came to her, she would dictate it into her voicenotes and then transcribe what she recorded, so I’m guessing by “starting over”, she’ll likely revisit those voicenotes and extrapolate those lines and sentiments into new poems adjacent to the originals?

To be fair, I definitely think it’s not completely shelved! It really seemed like Lana had a lot she was needing to say with that book, and I’m sure she’s trying to recall the poems and recapture the magic she had on the last draft before everything was lost. At least Patent Leather Do-Over was posted well in advance so that will remain as is if it still ends up in the book.