IanadeIrey

I totally think Sweet Carolina will be a very impactful closer, perhaps with similar production and vocals to the title track! This is the only song where I really have no idea what to expect, actually, I know it will be so good

Here are my thoughts on the elusive songs in the middle of the tracklist! To me, Black Bathing Suit being the longest track suggests that it will be lyrically dense and thoughtful, perhaps with a bit of sonic variation. I’m thinking it will be in the lyrical vein of hope is a dangerous thing for a woman like me to have - but I have it, with production comparable to Text Book or Heroin. I think If You Lie Down With Me will have a bit of a roughness to it, with some very minimal grunge influences in terms of the mixing of the instruments. I think it will be thoughtful, moody and driven by minor chords — I’m imagining it to have the pacing and melancholy of Riverside, the atmosphere of Black Beauty, and the guitar work of Unidentified Flying Bill. I’m also sensing some very subtle but driving drums on this one, maybe like a quieter version of the ones that underlie the verses of West Coast. Right off the bat, Beautiful is a stark title that is quite classic and romantic, so I imagine that it would have a similar arrangement to Arcadia with its orchestral elements. I think this one will be driven by her vocals, maybe like the ones on Summertime (The Gershwin Version). Violets for Roses I imagine to have a bit of a jazz feel, with a gorgeous pastoral sound similar to Lana’s covers of The Other Woman and The Good Life. I think it will have some beautiful saxophone work that I’ve previously referred to as “garden jazz” and I imagine some sweeping guitar and lots of mellotron. I think this one will be lyrically sweet but with a layer of bitterness that you need to listen to closely in order to hear it. It’s the song before Dealer, and even though haven’t heard it, I gather that Dealer is quite a strong track, so I could see Violets for Roses being a crescendo within the album’s narrative (before we get to the explosive, climactic center-point that is Dealer).

It’s a very famous diner chain in California that’s known for its nod to classic American iconography! Lana has done lots of fun projects with them, including a Honeymoon shake, COTCC shake, and now a Blue Banisters one! Lana also previewed the Honeymoon cover on one of their billboards in Hollywood, a few weeks before the official reveal.

Mel’s Drive-In has announced that they will be introducing a featured milkshake in honour of Blue Banisters, just the way they did with Chemtrails! https://vm.tiktok.com/ZM8dYgPkE/

Wow…you said it so perfectly — this right here is exactly the genius of Arcadia. It’s quite a defining song for the record, it seems, and all of the subtleties of its lyricism and delivery work together to convey exactly what you identified as Lana’s feelings. (also, you always have the best posts, I see you and appreciate you <3)

I feel like the constant shifts in energy and topic within this thread are well-represented by this video — https://vm.tiktok.com/ZM8d17tMa/

The way I see it with leaked songs being on the record (and I hope this may help anyone struggling to reconcile any grievances about older songs being on the album and wishing for strictly previously unheard material) is that, the song still exists beyond the time of its conception, and thematically, lives on and does not have an expiration date. The beauty of music is that, if we truly enjoy it, we don’t just listen to it only when it is newly released. The actual recordings of our favourite albums do not change between their initial release and our listens of it over time.

and that’s usually my cue to leave!

I know! I always feel that our community here is most “alive” when we are in a pre-release period, just waiting for the record. It’s really special and I’m savouring these 2 weeks before we are blessed with the music!

Today marks 10 years since the song was officially released! <3

Black Beauty, Brooklyn Baby, Nectar of the Gods, Living Legend, and now UFB are some of my all time favourite songs, and they were all written with Barrie, so I’m really excited to hear If You Lie Down With Me. Can’t believe we’re only 367 hours and 17 minutes away!

Honeymoon vs. Wait For Life

Last we heard, Rob’s favourite song was Florida Kilos, so, might I say, the man’s got taste! Sweet Carolina is going to be a beautiful finale to a beautiful record.

I love that some of these tracks were recorded recently! It’s really cool to have Lana release songs in real time because it’s kind of a glimpse into her life as she’s experiencing it (as opposed to her songs just being reflective of her past, or released a year or two later, once her life looks a bit different)

So I was reading the “Videos We Don’t Have” thread and @HeadBitch gratefully mentioned that BOZ said there is a Blue Banisters album trailer, from which the teaser video of the title track that Lana posted in April was extracted. Allegedly, there are no plans to reshoot those clips, but rather to simply edit Clay’s face out (or I guess, obscure him a bit). Just wondering if anyone here who is also on ATRL caught wind of any other new information?

I can see Lana rolling her eyes as she reads this. Yes! It’s rightfully deserved, and later’s better than never —— but you’re nearly a decade late, Pitchfork. Too much has happened since your review for a lame extra 2.3 points (really? Only that much?) to “revisit” anything.

UFB, On & On & On, Heroin, and Ultraviolence!

Please, we need these — :anyways: or :isaidwhatisaid: :judgingu5:

So cute!

I have been thinking about how the earliest concept of Lust for Life was, in Lana’s mind, potentially an exploration of fame and what being an artist means to her— The Next Best American Record (Early Version) The demo of this song is very much the thesis statement for what this record could have been trying to say. She is speaking to herself when she says “you did it all for fame” in the choruses, and she seems to be asking herself, “tell me how life treats you now” — I think this track is very much subconsciously a reaction to the immediate criticism she received from Born to Die, and then how that criticism was exacerbated and had evolved into personal attacks regarding her values and character upon Ultraviolence’s release, and then the invasions of privacy she wrote about on Honeymoon (and then the ones after it was released). To me, “the next best American Record” in question is Born to Die, so this track is retrospective. On & On & On This track kind of feeds off of TNBAR and sees Lana reflect on her legacy and vow to die only in California and to let her songs be the thing that lives on and on and on. She’s lamenting on fame here, now that “all [her] secrets are out” and “all the lies are out too”. It’s almost post-humous, which makes it a bit bittersweet and eerie. 13 Beaches This song, as we know, further deals with the invasions of privacy that accompany fame. Heroin I think this song sees Lana reconcile the weight of fame and the troubling realities of her own personal life, which she links a bit to the troubling realities of California’s history. There are too many things to say about it, but I think everyone can gather how important of a song it is and the relevance of the references to Manson, Topanga, and the titular drug. Lust for Life (Demo 1) This song, as we know, sees Lana a bit restless, perhaps from the weight of fame and the realities of life. She describes herself as a “wild caged animal” which seems fitting for anyone who has had a life in the spotlight. But she asserts her “lust for life” and moves forward, which transitions into the themes of the next few songs nicely. Yosemite This song, as we know, sees Lana want to do things for the right reasons and for the sake of living authentically — which is a direct response to TNBAR, and kind of resolves the conflict she faces a bit in On & On & On. Love This song, as we know, sees Lana centre her music and art in the young people that consume it. It’s a more universal sentiment that I think offers another perspective to Lana’s approach as an artist, that she explores in the aforementioned songs. Get Free/Malibu I think Lana must have always known that this song would be the closer to the album, at every stage it underwent. It’s a perfect manifesto and commitment to breaking free of the dark and isolating things that accompany fame. I love Lust for Life as it is, but I really think the earliest vision Lana had for it was a further lamentation on fame that took sonic and lyrical direction from Honeymoon.

This thread gives me anxiety!!

I just love this song so much. I always love when Lana makes songs that broach the end of life and the fragility of it all, and when she addresses her legacy. This gem is so post-Honeymoon and totally retrospective of that album’s narrative.

Literally so over all the fake news and misinformation!

I’ve been asking myself the same thing

I keep thinking about how in an early 2019 interview in promotion of the Gucci Guilty campaign, Lana said that the two songs of hers that best represent her are Cruel World and Shades of Cool — and more specifically, what that says about songs from 2013 appearing on Blue Banisters. I have always loved Ultraviolence and have considered it a very important and favourite record for any true fan like the users on this site, and I feel like the events leading up to it being written are significant years down the line as Lana is recapturing her story with this album. I feel like the Ultraviolence — Blue Banisters pipeline (and in a more succinct, retrospective way, everything in between) is symbolic of Lana at her rawest and most existential. This is the songwriting that will see her legacy live on and on and on.