IanadeIrey

So in love with the packaging of the record

I always thought Dealer was more of a mood track, and is one of those songs where Lana’s depiction of the person she’s addressing is a more universal one (like an archetypal ex-boyfriend) and is meant to reflect more on her state of mind, than just be about the character type she’s singing to.

I’m working on a thing that pieces it all together, but I just did that little thing about Text Book because I was so excited about it

The way you are the best (I’ve missed you! We haven’t interacted in ages )

I 100% agree! I think the entire chorus can be read at least 2 different ways – it's really a complex song that I thought I fully understood upon its release, knowing the context of her relationship, BUT after her livestream on Friday, I think there's so much more to it that we can only speculate. The added layer of karmic family lineage is so intriguing.

I posted about in the Text Book thread, but I'm too floored by it for it to go unnoticed lol. Text Book is actually far more layered than I initially realized. There is the obvious distinction between herself and Sean in terms of where they may stand on certain sociopolitical and/or human rights issues that is used as a backdrop for the dissolution of their relationship – but I am realizing that there are nods to the karmic family lineage that she keeps referring to peppered throughout the song. I think there is a level of genealogical ill situated in a historical and racial context that underlies this song, too (think about the track’s declaration to “rewrite history”, nods to the Black Lives Matter movement, and references to "Ol' Man River"). It is brilliant how she manages to create a lyrical and thematic interplay between the end of a committed relationship, reparations of historical family karma, public infamy, and strained parental relations. This is one of her best – if not the best – written songs. I think it is absolutely one of my top 5 favourites from her ever.

This track is actually far more layered than I initially realized. There is the obvious distinction between herself and Sean in terms of where they may stand on certain sociopolitical and/or human rights issues – but I am realizing that there are nods to the karmic family lineage that she keeps referring to peppered throughout the song. I think there is a level of genealogical ill situated in a historical and racial context that underlies this song, too (think about the track’s declaration to “rewrite history”, nods to the Black Lives Matter movement, and references to "Ol' Man River"). It is brilliant how she manages to create a lyrical and thematic interplay between the end of a committed relationship, reparations of historical family karma, public infamy, and strained parental relations. This is one of her best – if not the best – written songs.

Ugh, yes! I actually feel quite lucky when I think about how I've been able to experience every album in real time and see her go progressively deeper within her self with each record's narrative. I have always loved what she says about how there is a 'real merit to turning all the way inward' – what a principle to let guide you through life. It's so amazing, I'm really, really touched by this record and I am even more excited for her to divulge what she's committed to on future projects (Behind the Iron Gates, especially!)

Text Book, Blue Banisters, and Wildflower Wildfire – being a first look into this record – alone were among the best songs she's ever written. I am so excited to hear how she's going to endeavour on this sound and calibre of writing moving forward.

I'm finishing up a 2000+ word analysis to post here about the record and it has me like

💙💙 Sending you lots of love and good thoughts! 💙💙

I feel like Lana really loves the blue-profile album cover. It seems to have some sort of significance to her, as she commented “A picture is worth a thousand words” on Neil’s post of it, and only that photo. She also told Brian, the fan in the livestream, to not worry about getting the vinyl, and to get only that vinyl variant if they had to. Looking at it, it is such an impactful, defiant, and stunning shot — but upon closer inspection, you can see it looks like there’s something out there in the distance that appears troubling to her, and I think that perfectly sums up the place she’s at in this record. The album is a portrait of her, essentially, and is born out of her experiences, so I actually think this cover is a direct representation of the record, and is worth the thousands of words she wrote on this album.

Omg you’re right OK please nobody come for me — but I actually want to see her do more with Drew Erickson! I can tell he has some piano virtuoso capabilities up his sleeve so I would love to see Lana dive more into that classical composition a bit! And I’d love to see her continue working with Zach Dawes

All I care to have a preference for is that she continues on this path of turning all the way inward, with poetic writing and classical arrangements (whatever form that may be)! Nobody does timelessness better than our girl

For the first time, I cannot choose a favourite song. I have realized that every single song serves such an important purpose on this record, that I feel it is unfair to put them in a hierarchy like that (for myself, personally). There’s such a real merit to this autobiographical edge she’s leaned into, that I know will make it my absolute favourite by far; the writing on it is enough for it to climb to my #1 spot, and the show-stopping vocals and gorgeous, full, pastoral production just drive it all the way home. WOW.

I would love if this “Country/Western” concept she teased yesterday had a similar soundscape to Text Book, Summertime the Gershwin Version, and Summer Wine — that rustic, late 60s—early 70s sound that travels between California and Texas is my dream.

Don’t worry, I’m with you!

Is that an invitation for me to write one?

Man...I could write a whole dissertation on Text Book. There is just so much to unpack in that song.

As I continue to listen to the record, I'm really seeing all the pieces of her story fit together perfectly. While some songs are older (the historical significance of which simulate a more 'anthological' feeling), I actually think the story she tells on this record begins in 2020 and ends in 2021, even though she digs into the roots of her existence a bit. The universality of the older songs she chose actually applies to her current life (what we are privy to, at least) perfectly. I'm thinking of writing a longer post that dissects this a bit further – I think I'll post it here, and hopefully everyone sees the narrative a bit more clearly too! I had an inkling about this, as I'm sure many of us already did, but the things she said about her personal life in the livestream yesterday somewhat confirmed it. I'm really excited thinking about the record now and this makes me love it even more (as if that was possible!)

In regards to what the 'one word' is, Lana said it was one that affected the rest of the album. I immediately thought it was "mother" (which she says on BBS). The matriarchal theme has never been a present theme on any album of Lana's before, yet it underlies and informs many of the experiences she sings about on this record. Our familial upbringing – particularly our relationships with our parents – undoubtedly has the most impact on the way we move through the world.

Both! I think Barrie’s involvement and general comments about working with Lana again suggest it was written in 2013, but it must have been heavily reworked or repurposed completely, as Drew Erickson also has credits on it, and Lana and Barrie allegedly had a session together earlier this year. So my guess is written in 2013, but produced in 2021 (the vocals are difficult to tell, they sound very 2013 but also very recent at times. I’m thinking the verses were recorded in 2021, but chorus was recorded in 2013, or something like that)!

I really liked the performance! She looked wonderful and the noir feel of it all with her singing interlaced with close-ups of the studio was gorgeous!

LOVE the black-and-white, and she looked like an angel

The little Blue Banisters album cover appearing on the screen as Stephen announced her performance