IanadeIrey

Angelique is the best part of this show so far, I love her, she has the best screen presence

Well….I’m glad the data-by-the-numbers they refer to includes Lana!

So exciting! I hope she does an interview during the red-carpet pre-show like the hosts just mentioned.

I don’t think she dislikes it all, but I think it’s a record that came out when the stillness and idyll that led to its creation had subsided. And that is for a multitude of reasons, but I think it’s clear that Chemtrails captures a very specific space that Lana has dipped into, but perhaps is still on her way to staying grounded in — as she said to Annie Mac in January, she felt like she was “beckoning it”, even going on to compare it to “when you’re reaching in a relationship, like agh, I just want it so bad!” So I think it’s definitely a record that despite its sequencing, curation, and presentation, may be one that Lana spiritually considers to be a work in progress because so much had changed between making the record and actually having it released. To me, Blue Banisters represents turning inward to do more personal work, whereas Chemtrails is a record that kind of envisions life as that work is already done, and it’s interesting how prophetic it is since it was finished nearly 2 years ago before Blue Banisters was even conceptualized. That said, though, I think Chemtrails will be even more thematically poignant in the years to come…

It’s so interesting to hear her outrightly declare what she views her best album to be. I remember in an interview the week leading up to NFR’s release, she said that she really “objectively liked the songs” on that record. And I think there’s so much that goes into informing that opinion — it is very much a modern classic by any standard when you really listen to the melodies, lyrics, and the overall presentation of it that is the golden age of California in a nutshell; it’s like, instantly iconic. What I’ve always loved about Lana is that she can acknowledge how good her work is without attributing that goodness to the fact that it can win over even her biggest skeptics— NFR is an amazing album before the fact because as she has said, what’s there to not like about it? It’s just Lana chipping away at her craft and doing what she does best, and based on the way she talks about it in this interview, she seemed touched that the record she considered to be her best was also perceived that way. It’s not her best because the critics deemed it so. Nonetheless, it’s a shame that not all her records have experienced that level of acclaim, which they truly are all deserving of.

A Decade of Lana Del Rey: The Artist Talks Diarist Pop and Upholding Her Truth By Mike Wass December 2, 2021 Some artists launch themselves into the world with a cautious toe in the water; some make a huge splash. Lana Del Rey’s “Video Games,” which may have been one of the first songs to “go viral,” was more than just a song — it was a statement of intent and a blueprint for everything she’s done since. With loved-up, ominous lyrics cloaked in shadowy production, the baroque ballad heralded the arrival of a songwriter who wielded vulnerability like a weapon. Over the course of seven studio albums, the prolific Del Rey has refined her sound into many different shapes — all unmistakably her. It all started in June 2011, when “Video Games” hit the internet. “I remember being in Long Island with my family and seeing the Weeknd post ‘Video Games’ on Tumblr,” Del Rey says. The song wasn’t her debut — she’d released an album the previous year and an EP under her real name, Lizzy Grant, in 2008 — but it certainly was a lasting and far-reaching introduction to the world. “I can’t say to what extent I’ve influenced anything. But I can say all of my creative cosplay — aka notes from my real life — did widen up the sound in popular music for people to make a departure from a pure pop sound to something more diarist.” From there, she was off and running. In 2012, she unveiled the sweeping, widescreen “Born to Die” album; boosted by a deluxe edition (which included the Rick Rubin-produced “Ride”), it spent 400 weeks on the Billboard 200. She continued to branch out stylistically and seek new collaborators. For the follow-up, 2014’s “Ultraviolence,” Del Rey explored a gritty, guitar-driven sound with producer Dan Auerbach of the Black Keys. “I learned how good it felt to be singing, writing and producing stylistically in a way that felt very natural and detail-oriented,” she recalls. She would push the boundaries further on 2015’s dreamy, soundtrack-esque “Honeymoon,” a controversial curveball at the time that has since been embraced as a fan favorite. “I felt like I might be going in a more jazz-oriented direction, but the music of course did later pivot again,” she says. Indeed: On 2017’s “Lust for Life,” she widened her net of collaborators. “It felt good to work with other people,” she explains. “I had been doing things in a very insular way up until that point.” Pivoting again, Del Rey then partnered with Jack Antonoff (known for his work with Taylor Swift, Lorde and St. Vincent) on “Norman Fucking Rockwell!” The multilayered, slightly ’70s-flavored opus earned her a Grammy nomination for album of the year. Says Del Rey: “That meant a lot because I knew it was probably my best album. I’m usually almost exactly right on my gauge of what people will probably hate or love. I’m somewhat psychic in that way.” Antonoff also produced her first 2021 album, “Chemtrails Over the Country Club,” but Del Rey largely took the helm for the majestic follow-up, “Blue Banisters.” Yet when looking back at her body of work, Del Rey is hard-pressed to offer highlights. “There were moments while I was making ‘Honeymoon,’ moments while mixing ‘Ultraviolence,’ then writing ‘Norman Rockwell!’ and producing my own album, ‘Blue Banisters,’ that all stand out to me,” she reflects. “But to be honest — and this is the takeaway — my proudest achievement is continuing to uphold my personal truth in a time when truth is often questioned and rarely valued.” https://variety.com/2021/music/entertainers/lana-del-rey-ultraviolence-born-to-die-blue-banisters-1235123179/amp/

Yes! Text Book Blue Banisters Arcadia Black Bathing Suit Beautiful Violets for Roses Wildflower Wildfire Sweet Carolina + Interlude — The Trio lol!

I’ve said it a million times, but I love Chemtrails so much, it’s perhaps my favourite record of hers for so many different reasons, and I just can’t believe how undervalued it is among fans. It’s a gem in her discography, it truly is so classic and timeless. It’s the Midwestern leg of the NFR tour suspended in time, which really was a beautiful mini-era to witness as a fan in real time.

Aw I’m so excited for this and to see her on the red carpet again. I hope she’s given a chance to accept her award onstage and deliver a speech. I really need to hear everything she has to say about this past decade and how she’s been reflecting on her life up until this point.

Loving the love for Honeymoon! I remember the majority of people being so rude to that record in 2015 and now it’s lauded as one of her best. Proud to say that I, of many true legends, have known its brilliance since day 1!

I always get so excited when Spotify Wrapped comes out! here’s mine — Top songs: 1. Chemtrails Over the Country Club — Lana Del Rey 2. Look on Down from the Bridge — Mazzy Star 3. Break the Ice — Britney Spears 4. Breaking Up Slowly — Lana Del Rey, Nikki Lane 5. Babe I’m Gonna Leave You — Led Zeppelin Top artists: 1. Lana Del Rey (0.01%!) 2. Britney Spears 3. Led Zeppelin 4. Mazzy Star 5. Hole Top genres: 1. Art pop 2. Classic rock 3. Hip-hop 4. Metropolis 5. Beat poetry (not sure if I listened to anything that qualifies as this lol) I’m actually so surprised that a lot of people have Chemtrails as their most-listened song! Look at us go!

I agree and I love her blonde hair too! I feel like people always look so amazing with their natural hair colour — Lana amazingly suits every colour she has had, but seeing her with a blonde shade that was the closest to her natural shade was really nice for a change, I wonder if she’ll keep it around eventually

White Dress on a near-winter day like today My fave 🌅⛸🤍

I was so excited and beyond thrilled. I have always loved classic rock and the music that came out of the 60s/70s in general, so naturally, I was completely enamoured and captivated as Ultraviolence was coming out. I didn’t really have any pre-conceived notions or expectations about what she’d do next, but if I had any, the record definitely would have shattered them all in the best way possible. Following Blake’s somewhat-Hendrix-inspired arrangements on the Paradise Tour, a seed was definitely planted in the back of my mind regarding a rockier sound from Lana.

I think Chemtrails is my personal favourite record of hers in a different way, in a way that’s not necessarily synonymous with what I think her best record is (because she does have a considerable number of records that you could argue are her magnum opus)—I think Chemtrails is the record that best represents who I am, so I think I resonate with it so closely. The lyrics to songs like White Dress and Chemtrails Over the Country Club eerily echo parts of my experiences that I consider to be formative and beautiful, so it’s really a record I feel in my bones lol. And experiencing its release with everyone here and during the height of the pandemic (where I am, at least) was really fun! It offered a reprieve from everything that was going on at the time.

It’s just so dark and smooth, the production and blend between Lana and Nikki’s voices are just gorgeous.

Oh right! I wonder if it’s still piano driven or sounds more like the guitar-heavy tracks that Dan did on UV

I think the only one for me would be Fine China. Lyrically, I feel like it’s probably one of her most timeless songs, she could release it at age 27, age 37, or age 57 and it would still sound like it was written during these different phases of her life. The version that leaked also has the label “Rough Old Keys” and is audibly not final, so there’s definitely a final version that I know sounds just gorgeous. We know it was considered for Blue Banisters, so I’d love to see it appear on a future record (and how the context of its appearance on that record affects listening to it).

This looks GORGEOUS. I’ve seen pictures where the LP was backlit, but in regular lighting it’s such a gorgeous, deep shade of blue. It’s like the ocean — my favourite shade! I’m so glad they did this pressing because the colour and artwork are beautiful.

Still not over Nectar of the Gods the way I was when I first heard it on May 1, 2019. That song is just gorgeous, I can’t believe it’s real — it sounds straight out of 1970.

Aw, congratulations!!! That is so amazing and so well-deserved <3 and for what it’s worth, I thought it was an official graphic issued by Variety - it was that good

Tulsa Jesus Freak vs. Freak

I love NFR, Violet, and Chemtrails, so I’d be happy with another record produced by Jack! I find myself loving everything she does lol so I’m just excited about new music/poetry!

Oh right! We know for sure that Jack produced Patent Leather Do-Over, so it could be that they’re finishing up the rest of the next audiobook.

According to her stories, she’s at Conway Studios with Jack! Could be an old picture, but perhaps another project is on the way?