IanadeIrey

I feel like Honeymoon was the record that really allowed Lana to be herself and was a platform through which she could communicate her internal struggle of the whole persona of Lana Del Rey versus Elizabeth Woolridge Grant. The lyrical parallels in some songs (HBTB and PMIAM from AKA) and themes from songs like GKIT and Swan Song really show this struggle I feel. 
 
The whole record deals with themes of escapism and voyeurism, feeling like you're being watched, and living out fantasies of your own downtime and freedom. The visuals for this era also convey this, what with the whole Starline tours bus - showing Lana, a star herself, literally surrounded in a world of stars, but the obvious factor is that these kinds of Hollywood tours are for the average person, which I think subtly but brilliantly shows the way in which Lana both objectively and personally views herself. 
 
I think out of all her discography, Honeymoon is THE record that she probably let the most go with; she really seemed like she was having a lot of fun with the whole process of creating it and the lyrics are more a tool for imagery rather than narrative, which paints a beautiful picture for the listener. It truly is a shame that it is so under-appreciated by her fanbase.
 
I think the main encompassing feeling and vibe throughout the record is Lana's interpretation of jazz and timelessness, and what the definition of timelessness is, sonically speaking. 
 
It's so soft and lush too. Someone else said it in another thread, and I completely agree with them - there are so many layers to it, you're definitely going to continue to discover different sounds and instruments the more you listen to the songs and even the instrumentals. 
 
I just love Honeymoon so much - it's my favourite Lana album. 

God Knows I Tried! It's so underrated and thematically, it contains some of Lana's best lyrics about herself to date!
 
Also, the guitar in it is so Californian in sound. Love it

Swan Song really speaks to me, especially these particular lines:
 
"The world can change in a day if you go away"
"Why work so hard when you can just be free?"
"Do you like where you've been and where you're going to?"
 
She really said it clear for me. 

Literally all of Heroin lyrics, her best written song imo

Is Religion underrated? No one talks about it. The song deserves the name imo
 
Radio is another song no one talks about. 

Cherry is one of them songs that will never get old

Definitely her most timeless record. When people look back on her career in decades to come this will always be considered a highlight imo.

Just some interesting thoughts based off of interviews from Lana and Rick.

In late 2015, Lana said that the follow up album to Honeymoon would go in a different direction while retaining the same aesthetic. This is evidenced by songs like BAR (which a lot of people compared to TBD) and the descriptions of 2016 demos by Eclipse. I assume the original production of LFL was done in a similar vein as Dean Reid mentioned that the first demo for the song was an ominous sounding ballad. Rick said that there wasn't an actual concept at the beginning. That it was just a collection of songs. Heroin was probably written around this time too considering it's darker sound. She also mentioned that it was one of the first songs written for the record.
So based off these 3 songs alone (Heroin, BAR, LFL demo), you can kind of imagine what the early sound of the album was like before songs like Love came along.

Eclipse received the Love demo in April 2016 so it was probably written and produced around that time. Lana mentioned how the sound of LFL got really updated because of the political landscape. The Love music video was filmed in July that year which means the final version of the song was produced sometime between April and July if the timelines are correct.

There's at least 3 demos of Lust for Life (without The Weeknd)
Lust for Life (First demo)
"The original song was a long ballad with pads and vocals."
Lust for Life (Max Martin demo)
"..and then Max’s crew rearranged it into more of a pop structure with beats."
Lust for Life (Demo based off of Max Martin's mix)
"..then Lana wanted to do more of a ’50s doo‐wop style spoken‐word thing in the verses, so Kieron programmed a beat for that section with a more Motown sound, and we recorded her new spoken‐word vocals, plus the transition into the chorus, which sounds a lot more like Max’s demo."
About The Weeknd feature:
"Once we had the verses, the song was pretty much up and running, and then one night Abel came in, and worked with Rick and Lana and Kieron, and they replaced a number of vocal lines. They also did a lot of ad‐libbing and sang the duet part. I then added some bass and guitar parts.”

I need to hear the demo with sung verses. I find it funny that one of the most pop sounding tracks on LFL started with a more unconventional and darker sound. Also, I'm curious as to how many other demos there are with orchestral productions. The only other song that we know of with predominant strings is Something Real.
I'll link it if I find it but I specifically remember an interview with her talking about how she took the strings out because it sounded silly or something.

I feel like Honeymoon was the record that really allowed Lana to be herself and was a platform through which she could communicate her internal struggle of the whole persona of Lana Del Rey versus Elizabeth Woolridge Grant. The lyrical parallels in some songs (HBTB and PMIAM from AKA) and themes from songs like GKIT and Swan Song really show this struggle I feel. 
 
The whole record deals with themes of escapism and voyeurism, feeling like you're being watched, and living out fantasies of your own downtime and freedom. The visuals for this era also convey this, what with the whole Starline tours bus - showing Lana, a star herself, literally surrounded in a world of stars, but the obvious factor is that these kinds of Hollywood tours are for the average person, which I think subtly but brilliantly shows the way in which Lana both objectively and personally views herself. 
 
I think out of all her discography, Honeymoon is THE record that she probably let the most go with; she really seemed like she was having a lot of fun with the whole process of creating it and the lyrics are more a tool for imagery rather than narrative, which paints a beautiful picture for the listener. It truly is a shame that it is so under-appreciated by her fanbase.
 
I think the main encompassing feeling and vibe throughout the record is Lana's interpretation of jazz and timelessness, and what the definition of timelessness is, sonically speaking. 
 
It's so soft and lush too. Someone else said it in another thread, and I completely agree with them - there are so many layers to it, you're definitely going to continue to discover different sounds and instruments the more you listen to the songs and even the instrumentals. 
 
I just love Honeymoon so much - it's my favourite Lana album. 

I feel like Honeymoon was the record that really allowed Lana to be herself and was a platform through which she could communicate her internal struggle of the whole persona of Lana Del Rey versus Elizabeth Woolridge Grant. The lyrical parallels in some songs (HBTB and PMIAM from AKA) and themes from songs like GKIT and Swan Song really show this struggle I feel. 
 
The whole record deals with themes of escapism and voyeurism, feeling like you're being watched, and living out fantasies of your own downtime and freedom. The visuals for this era also convey this, what with the whole Starline tours bus - showing Lana, a star herself, literally surrounded in a world of stars, but the obvious factor is that these kinds of Hollywood tours are for the average person, which I think subtly but brilliantly shows the way in which Lana both objectively and personally views herself. 
 
I think out of all her discography, Honeymoon is THE record that she probably let the most go with; she really seemed like she was having a lot of fun with the whole process of creating it and the lyrics are more a tool for imagery rather than narrative, which paints a beautiful picture for the listener. It truly is a shame that it is so under-appreciated by her fanbase.
 
I think the main encompassing feeling and vibe throughout the record is Lana's interpretation of jazz and timelessness, and what the definition of timelessness is, sonically speaking. 
 
It's so soft and lush too. Someone else said it in another thread, and I completely agree with them - there are so many layers to it, you're definitely going to continue to discover different sounds and instruments the more you listen to the songs and even the instrumentals. 
 
I just love Honeymoon so much - it's my favourite Lana album. 

Same, I feel like the demo is what Love would sound like with  Honeymoon production 
and I LOVE Honeymoon production 

Hey, I think the stems you're referring to are the demo stems, not the stems of the actual track that was released

I feel like Honeymoon was the record that really allowed Lana to be herself and was a platform through which she could communicate her internal struggle of the whole persona of Lana Del Rey versus Elizabeth Woolridge Grant. The lyrical parallels in some songs (HBTB and PMIAM from AKA) and themes from songs like GKIT and Swan Song really show this struggle I feel. 
 
The whole record deals with themes of escapism and voyeurism, feeling like you're being watched, and living out fantasies of your own downtime and freedom. The visuals for this era also convey this, what with the whole Starline tours bus - showing Lana, a star herself, literally surrounded in a world of stars, but the obvious factor is that these kinds of Hollywood tours are for the average person, which I think subtly but brilliantly shows the way in which Lana both objectively and personally views herself. 
 
I think out of all her discography, Honeymoon is THE record that she probably let the most go with; she really seemed like she was having a lot of fun with the whole process of creating it and the lyrics are more a tool for imagery rather than narrative, which paints a beautiful picture for the listener. It truly is a shame that it is so under-appreciated by her fanbase.
 
I think the main encompassing feeling and vibe throughout the record is Lana's interpretation of jazz and timelessness, and what the definition of timelessness is, sonically speaking. 
 
It's so soft and lush too. Someone else said it in another thread, and I completely agree with them - there are so many layers to it, you're definitely going to continue to discover different sounds and instruments the more you listen to the songs and even the instrumentals. 
 
I just love Honeymoon so much - it's my favourite Lana album. 

I feel like Honeymoon was the record that really allowed Lana to be herself and was a platform through which she could communicate her internal struggle of the whole persona of Lana Del Rey versus Elizabeth Woolridge Grant. The lyrical parallels in some songs (HBTB and PMIAM from AKA) and themes from songs like GKIT and Swan Song really show this struggle I feel. 
 
The whole record deals with themes of escapism and voyeurism, feeling like you're being watched, and living out fantasies of your own downtime and freedom. The visuals for this era also convey this, what with the whole Starline tours bus - showing Lana, a star herself, literally surrounded in a world of stars, but the obvious factor is that these kinds of Hollywood tours are for the average person, which I think subtly but brilliantly shows the way in which Lana both objectively and personally views herself. 
 
I think out of all her discography, Honeymoon is THE record that she probably let the most go with; she really seemed like she was having a lot of fun with the whole process of creating it and the lyrics are more a tool for imagery rather than narrative, which paints a beautiful picture for the listener. It truly is a shame that it is so under-appreciated by her fanbase.
 
I think the main encompassing feeling and vibe throughout the record is Lana's interpretation of jazz and timelessness, and what the definition of timelessness is, sonically speaking. 
 
It's so soft and lush too. Someone else said it in another thread, and I completely agree with them - there are so many layers to it, you're definitely going to continue to discover different sounds and instruments the more you listen to the songs and even the instrumentals. 
 
I just love Honeymoon so much - it's my favourite Lana album. 

Hey, I think the stems you're referring to are the demo stems, not the stems of the actual track that was released

Same, I feel like the demo is what Love would sound like with  Honeymoon production 
and I LOVE Honeymoon production 

My wig flew the moment Honeymoon started existing

RIP    (but now I need that demo)

Those were the demo stems. Pretty sure the album version doesn't feature any strings and I don't think anyone has the stems for the album version either.
 
What @lanadelrey said

Hey, I think the stems you're referring to are the demo stems, not the stems of the actual track that was released

when I saw this I got so excited because it's like the first time she's actually shown us that she really is writing new music. Like, obviously she's been saying that she's been working on new stuff for a while but this is the first legitimate proof we have that she's actually working on music.
 
If this is anything like the sound on the next album I would be so happy. This sounds so magical    
I have a feeling her next album will be her best. She's had time to take a break from her career and just enjoy her life, and it seems her relationships are quite stable now (with her boyfriend, her family, etc.). Plus I think she's taken time to deal with some of her struggles with mental health and she definitely seems a lot more refreshed and open about her life. And I'm so interested to see if her travels to Japan will translate into her art in any way.

I know she has been recording and writing here and there but from the way she was talking in her latest blog post, I do genuinely feel like she is wanting to dip her toes back into the pool of releasing music. But she needs to write and record it first so I'm hoping for something by the end of next year. 

What if the Cherry video is in part with Chuck and Gucci?
 
Almost like how Blue Velvet video was with H&M 

It's not strictly science. I just joke about it because of the Campbell connection. Although she has repeatedly stated her influence from vintage/retro scifi and horror in this era. We don't know the original lyrics when it was Malibu, either. It could be an entire concept shift. 
 
Also, it's just that. A concept. Of course her journey isn't completely done, she's human and neither she, nor anyone else in real life, reaches 100% fruition of their goals and dreams wtf. But the language directly indicates inspiration from a literary perspective (again, this doesn't have to be strictly science. And she references literature all the time)
It'd be too optimistic to think that someone in their thirties has everything figured out. 
 
That's why I personally think LfL was more based around a character concept rather than her actual life. Her newfound happiness certainly inspired things, but by crafting a fantastical character attached to the concept (who lives in the Hollywood sign, sings on the moon, etc), she's able to detach her everyday self from the concept. Unfortunately, some critics aren't seeing that, and will now expect her to be happy forever and ever and ever

Maybe the album will be something we don't expect. Yes, there's the Get Free attitude that we have to look forward to, but maybe there's other elements that we won't see coming. LFL itself was kind of unexpected when she first dropped the political theme. Idk, I trust her.