IanadeIrey

Me too

A fan! @/ryan_pettijohn on IG!

That’s so funny. I feel like we’ve seen Sveta and Hunter as friends of the Grants for years — who knew they would get married? congrats to the happy couple!

I agree! I think everyone under the sun has said that bit about romanticization (even about Ultraviolence when it came out), whereas I always found it to be half-rooted in truth and half-rooted in a subversive exploration of otherwise stigmatized topics. Even if it is a discussion of so-called traumatic things, I can’t help but feel that people put words in Lana’s mouth in an attempt to use their dismissal of that record for their own performative, virtue-signalling purposes lol.

Not really a fact but I would like to air my grievances with newer fans who claim that AKA is completely unlistenable and that you’re “not a true fan” if you enjoy that record because it “glamorizes grooming and drug addiction” and Lana has allegedly come out of the woodwork and has said that it’s all about her “trauma” Sometimes I believe in the power of gatekeeping.

I think I’d also love if Lana tapped more into a timeless sound that carried loads of poetic lyricism. I actually listened back to some unreleased songs from 2013 (including the ones that ended up on Blue Banisters) and, in my opinion, they demonstrate this the most — they remind me of Leonard Cohen and Jeff Buckley. Now that we know of Lana’s rumoured Song to the Siren cover, I’m dying to hear something like that original track. I imagine her version to sound like her cover of Chelsea Hotel #2, Nectar of the Gods, and Living Legend.

I think Mike’s repertoire is quite diverse, so I’d also like to hear what else he’d cook up with Lana. I remember he said verbatim to Fantano that with Lana, it was about “staying true to the original but putting your own twist on it” so I imagine WFWF is one end of that, and the other may be something driven more by guitar or strings. Mike’s electric guitar work is really cool but I really have no idea if that’s the direction Lana is heading in, now that she’s alluded to tapping into what I presume to be lyrical density driven by a more classic sound on BB — I’m here for anything either way, though!

Based on Mike Dean’s “we plan on working with each other for a while” comment to Anthony Fantano about Lana, I am hoping for an album in the vein of Wildflower Wildfire — lyrically, sonically, all of it.

Lana 31 minutes ago on Honeymoon 💚 she’s glowing!

💙 Sending lots of love — know that better days are on their way. Wishing you nothing but goodness.

Prophet

1000%! That’s why it makes me quite sad, actually, to see people dismiss songs on the record or say that some should have been scrapped — and I know people will read this and think whatever about me — but the reality is that this record is one thing you absolutely cannot dispute. It’s someone’s story — as all her records largely are — and while I understand that people care about the sonic aspects of an album, I think this record isn’t the one where that’s what you need to see its brilliance. Don’t get me wrong - sonically, it’s gorgeous and stunning and layered - but the lyrics and narrative of the record holistically are what make it what it is, they are what make it a groundbreaking, critical record for her. And I feel like when you’re a fan of Lana, you’re not in it solely for the soundscape or the visuals, you likely resonate with/have been touched by the poetic honesty and lyricism through which her character shines. Controversial to say, and I know people won’t like that I said that — but it’s just how I feel about it lol. That’s where I see the magic in this record! Ugh you are the genius! I feel the same exact way, it’s really amazing to be able to witness her life in real time and see it become beautiful art that will live on till the end of time. That’s her contribution to our world and we’re lucky to bear vast witness to it.

Re: the discussion of songs being about Clay —Sure, there are little references to him here and there (maybe two, in all honesty), but I really think this record is about her recalibrating her life after her breakup with Sean. I think the end of that relationship brought a lot of change in her life — good and bad — and this whole record explores that. We see her dig deep into her family karmic lineage and how that translates into her interpersonal relationships, we see her battle inner disruptiveness caused by family-of-origin trauma and how that translates into the public’s projection onto her. I think the end of that relationship was significant and not at all frivolous, based on how she talked about it in her livestream, and how we can see notes of that appear in the songs, the themes of which we can trace back to events in her life that we’ve been privy to over the last 2 years. It’s a beautifully dense record.

My October mood

I remember @HoneymoonDaddy posted a mix of fake and real titles of unleaked songs for our amusement (lol) and one of them was Song to the Siren, which I presume is a cover. I hope if it’s real, Lana puts it on this record because it was made for her to cover, in my opinion. I think her interpretation would fit right in with some of her classic 2013 back catalog, like Living Legend, Chelsea Hotel #2, and Unidentified Flying Bill.

Oh, it’s true, it’s true! And same girl, @YourGirl666 you’re reconstructing our cognitive processes with each thread you create

I 100000% agree. You hit the nail on the head. I actually think that’s one of the major downsides of the otherwise innovation of the Internet and this hyper sense of interconnectedness that accompanies it. The problem is that everybody can comment on something unprovoked, simply because they feel entitled to, and that can become a rhetoric of the “over-culture” — much like how Lana talked about the influence of this over-culture in her Instagram live, it has now become difficult to separate yourself from the over-culture and rid yourself of its impacts (positive or not) on your thoughts. Props to your best friend, I absolutely wish I could do that (as much as I love being on LanaBoards and staying the most updated on Lana). A life off-the-grid in that way is kind of a dream.

I mean, I thought people would have noticed by now, based solely on how I defend her like it’s my life

There’s just something about them that is so iconic, like, only they can make me laugh with wild thread titles like these

I love @YourGirl666 even if I don’t understand their sense of humour…never change, my b

Omg that is a spot-on description Similarly, I imagine very grainy, reddish-toned film frames with smoke blowing about. Such an evocative and overall, like, genuinely cool track.

I absolutely loved Dealer upon first listen, but it’s absolutely hitting now. I live for the smoky and gritty 70s casino vibe

I make a point to not hate on any artist and I respect the hustle of everyone, but I think the new wave of alternative women in music — that, in my opinion, inaccurately get lumped with Lana — just aren’t for me (Halsey, Billie Eilish, Clairo, Phoebe Bridgers, Melanie Martinez). I also don’t really like sparkly, shiny, glossy “pop” that is mainstream nowadays. The true beauty of popular music flourished in the early 2000s with Britney, Beyoncé, and their peers.

If You Lie Down With Me is so 70s lounge-chic (and then launches into a 30s saloon moment with that brassy postlude). I think it’s one of my absolute favourites. That song, Text Book, and Nectar of the Gods, in my opinion, carry the most apparent western influences that make me think in the vein of Nancy Sinatra & Lee Hazelwood’s original recordings together. There’s just something so hazy and glamorous, but thoughtful about those three tracks. The richness and warmth of Lana’s vocals when she first says, “put your red boots on..”

Me too for me, there’s always something to love about every Lana song (if not everything!)