IanadeIrey

To be specific, 
Love - the last "and in love" where her notes soar high, and the outro, "don't worry baby"
Lust for Life - the anticipation of the moment the song starts; you hear air clearing, with the revving of a motorcycle, and then BAM! "(Uhhmmm) Climb up the H." The twinkling piano notes are beautiful as well.
13 Beaches -  the moments the satellite noise hits in the pre-chorus, so unique.
Cherry - the drumroll pattern, when the beat drops, the quiet swear words laced throughout the tracks, and the "Why?" part
White Mustang "You're revving and revving it up" and the moment after the second whistle (you can hear some strings and piano and bass, it sounds like a sci-fi show theme)
Summer Bummer - the siren notes in the background after Rocky's verse, and the outro of those siren notes.
​Groupie Love - the plucked strings in the pre chorus and the hazy, dreaminess in the chorus, the backing whisper of  "having my baby" right after she sings "Having my baby right next to me" the faint moan/sigh right before "And every time we hook up"
In My Feelings - the moment the beat drops right before "Cause you got me in my feelings" and the bridge vocals. Bop alert!1!!!11!!!
Coachella - Woodstock in My Mind - that futuristic sound the moment the song starts, the first "I'd trade it all" and of course, the bridge
God Bless America - And all the Beautiful Women In It -  the bridge, and the slightly folksy but regal instrumental when she says "Even when I'm alone"
WTWWAWWKD - "Shake it out, throw your hands up and get loose..." and the soprano vocals in the choruses
BPBP - The hums in the bridge, the last moment when Lana and Stevie alternate between "yeah" 
TNC - the first triadic chord of "hey, lady lay" and the bridge
Heroin - the whole song. The bridge is bliss. Best song on the record.
Change - the transition between first chorus and second verse, the last piano note of the song.
Get Free - whole stanza about the rainbows, the "shadup, shadup!" and "touch, touch!" in the background. The moment towards the end where the shouty Lizzy vocals begin to overpower the sweet, languorous Lana vocals. The entire last minute, with the seagulls and the beach sounds, the sound of freedom. 

To be specific, 
Love - the last "and in love" where her notes soar high, and the outro, "don't worry baby"
Lust for Life - the anticipation of the moment the song starts; you hear air clearing, with the revving of a motorcycle, and then BAM! "(Uhhmmm) Climb up the H." The twinkling piano notes are beautiful as well.
13 Beaches -  the moments the satellite noise hits in the pre-chorus, so unique.
Cherry - the drumroll pattern, when the beat drops, the quiet swear words laced throughout the tracks, and the "Why?" part
White Mustang "You're revving and revving it up" and the moment after the second whistle (you can hear some strings and piano and bass, it sounds like a sci-fi show theme)
Summer Bummer - the siren notes in the background after Rocky's verse, and the outro of those siren notes.
​Groupie Love - the plucked strings in the pre chorus and the hazy, dreaminess in the chorus, the backing whisper of  "having my baby" right after she sings "Having my baby right next to me" the faint moan/sigh right before "And every time we hook up"
In My Feelings - the moment the beat drops right before "Cause you got me in my feelings" and the bridge vocals. Bop alert!1!!!11!!!
Coachella - Woodstock in My Mind - that futuristic sound the moment the song starts, the first "I'd trade it all" and of course, the bridge
God Bless America - And all the Beautiful Women In It -  the bridge, and the slightly folksy but regal instrumental when she says "Even when I'm alone"
WTWWAWWKD - "Shake it out, throw your hands up and get loose..." and the soprano vocals in the choruses
BPBP - The hums in the bridge, the last moment when Lana and Stevie alternate between "yeah" 
TNC - the first triadic chord of "hey, lady lay" and the bridge
Heroin - the whole song. The bridge is bliss. Best song on the record.
Change - the transition between first chorus and second verse, the last piano note of the song.
Get Free - whole stanza about the rainbows, the "shadup, shadup!" and "touch, touch!" in the background. The moment towards the end where the shouty Lizzy vocals begin to overpower the sweet, languorous Lana vocals. The entire last minute, with the seagulls and the beach sounds, the sound of freedom. 

To be specific, 
Love - the last "and in love" where her notes soar high, and the outro, "don't worry baby"
Lust for Life - the anticipation of the moment the song starts; you hear air clearing, with the revving of a motorcycle, and then BAM! "(Uhhmmm) Climb up the H." The twinkling piano notes are beautiful as well.
13 Beaches -  the moments the satellite noise hits in the pre-chorus, so unique.
Cherry - the drumroll pattern, when the beat drops, the quiet swear words laced throughout the tracks, and the "Why?" part
White Mustang "You're revving and revving it up" and the moment after the second whistle (you can hear some strings and piano and bass, it sounds like a sci-fi show theme)
Summer Bummer - the siren notes in the background after Rocky's verse, and the outro of those siren notes.
​Groupie Love - the plucked strings in the pre chorus and the hazy, dreaminess in the chorus, the backing whisper of  "having my baby" right after she sings "Having my baby right next to me" the faint moan/sigh right before "And every time we hook up"
In My Feelings - the moment the beat drops right before "Cause you got me in my feelings" and the bridge vocals. Bop alert!1!!!11!!!
Coachella - Woodstock in My Mind - that futuristic sound the moment the song starts, the first "I'd trade it all" and of course, the bridge
God Bless America - And all the Beautiful Women In It -  the bridge, and the slightly folksy but regal instrumental when she says "Even when I'm alone"
WTWWAWWKD - "Shake it out, throw your hands up and get loose..." and the soprano vocals in the choruses
BPBP - The hums in the bridge, the last moment when Lana and Stevie alternate between "yeah" 
TNC - the first triadic chord of "hey, lady lay" and the bridge
Heroin - the whole song. The bridge is bliss. Best song on the record.
Change - the transition between first chorus and second verse, the last piano note of the song.
Get Free - whole stanza about the rainbows, the "shadup, shadup!" and "touch, touch!" in the background. The moment towards the end where the shouty Lizzy vocals begin to overpower the sweet, languorous Lana vocals. The entire last minute, with the seagulls and the beach sounds, the sound of freedom. 

The whole album. 

the piercing wall of sound released at the chorus of Love
 
the glimmering piano twinkles and howling wolves on Lust For Life
 
the vocal synth applied when she sings "across that county line" and the little techno blipips n bloops on 13 Beaches
 
the drum roll bombarding the repetition on Cherry, along with the final chorus adlib when she says "why" 
 
the genuine revving sounds and the simplistic yet winding melody on White Mustang
 
her highpitch vocals on the 'bridge' of Summer Bummer where it sounds like she's saying 'like doves in the summah' 
 
the little pling pling pling of the guitar before the chorus n verses, along with her hazy n breathy vocals come second verse
 
'crying while im cumming' and the overall badass bitchery of In My Feelings
 
the bridge on Woodstock is reminiscent of Honeymoon's, in which it's fucking ethereal and majestic and that's on that.
 
the guitar and her vocals upon GBA, i actually like the gunshots tbh
 
the melody and attitude within the pre-chorus and the hypnotizing repeating of 'is it the end of an era etc.'
 
her and spongebob's duet on beautiful people beautiful problems is great, plus the ending where they're like softly fighting their 'yeah's is great
 
ALL OF TOMORROW NEVER CAME IS MAGIC HENNY
 
ALL OF HEROIN IS MAGIC HUN
 
ALL OF CHANGE IS INCREDIBLE
 
ALL OF GET FREE IS LIBERATING AND GORGEOUS

Imagine Spotify Sessions or something like that and we miraculously get all songs acoustic  
 
This alongside your icon makes me like you random person have a nice day
Let's pray LDR6 is all about beachy happy imagery

I want a surf rock, more 50's glamour California sound. Something like the fake snippet of Love from January that sounded very beach-y and like a mature Lizzy (a la Kill Kill or Trash Magic demo)
 
My icon is an aesthetic I'd like for LDR6, maybe a title like "Good Vibrations."
 
I was saying it in another thread, but it's very possible, as "into the blue" (AKA water AKA being freed) is a jumping off point for LDR6, and the end of Get Free is basically what you hear at the beach, so  

I'm thinking latest July 2019, but definitely not before March 2019.
She's going to be touring as well, so I feel like the wait will be similar to the wait between Paradise and UV

I want a surf rock, more 50's glamour California sound. Something like the fake snippet of Love from January that sounded very beach-y and like a mature Lizzy (a la Kill Kill or Trash Magic demo)
 
My icon is an aesthetic I'd like for LDR6, maybe a title like "Good Vibrations."
 
I was saying it in another thread, but it's very possible, as "into the blue" (AKA water AKA being freed) is a jumping off point for LDR6, and the end of Get Free is basically what you hear at the beach, so  

I want a surf rock, more 50's glamour California sound. Something like the fake snippet of Love from January that sounded very beach-y and like a mature Lizzy (a la Kill Kill or Trash Magic demo)
 
My icon is an aesthetic I'd like for LDR6, maybe a title like "Good Vibrations."
 
I was saying it in another thread, but it's very possible, as "into the blue" (AKA water AKA being freed) is a jumping off point for LDR6, and the end of Get Free is basically what you hear at the beach, so  

I want a surf rock, more 50's glamour California sound. Something like the fake snippet of Love from January that sounded very beach-y and like a mature Lizzy (a la Kill Kill or Trash Magic demo)
 
My icon is an aesthetic I'd like for LDR6, maybe a title like "Good Vibrations."
 
I was saying it in another thread, but it's very possible, as "into the blue" (AKA water AKA being freed) is a jumping off point for LDR6, and the end of Get Free is basically what you hear at the beach, so  

I'm thinking latest July 2019, but definitely not before March 2019.
She's going to be touring as well, so I feel like the wait will be similar to the wait between Paradise and UV

I love stans with taste. SURF ROCK LANA

I want a surf rock, more 50's glamour California sound. Something like the fake snippet of Love from January that sounded very beach-y and like a mature Lizzy (a la Kill Kill or Trash Magic demo)
 
My icon is an aesthetic I'd like for LDR6, maybe a title like "Good Vibrations."
 
I was saying it in another thread, but it's very possible, as "into the blue" (AKA water AKA being freed) is a jumping off point for LDR6, and the end of Get Free is basically what you hear at the beach, so  

I want a surf rock, more 50's glamour California sound. Something like the fake snippet of Love from January that sounded very beach-y and like a mature Lizzy (a la Kill Kill or Trash Magic demo)
 
My icon is an aesthetic I'd like for LDR6, maybe a title like "Good Vibrations."
 
I was saying it in another thread, but it's very possible, as "into the blue" (AKA water AKA being freed) is a jumping off point for LDR6, and the end of Get Free is basically what you hear at the beach, so  

I think the video of the rehearsal for Cherry was a demo version.
She's missing the "fuck" before the chorus, the drum pattern before the chorus sounds a little muted, the bass is louder, and the way she says "I fall to pieces" the second time in the chorus sounds a little less mastered. 
 
Also, it sounds slower in the video, and there's a faint auto-tuned loon in the album version.
 
It could just be the iPhone video, but it does sound different. 

Lana presented the "Manager of the Year" award to her managers Ben Mawson & Ed Millett from TAP Management at the AM Awards (Artist & Manager Awards) held at The Printworks in London, UK




 
 
 
 
Video:

 
 
Speech:
I am very happy to be here tonight to give my managers this award and I wanted to share with you what they did for me that no one else could do.
  They were able to see in me all of the things that people around 2006/2007 said were unmarketable, not pop enough, too abstract. They were able to see these traits as assets and to have the wisdom to see that some of the peculiarities of my writing style were relatable.    They could actually make my record translate in a universal way that other bigger managers and bigger labels that I had met hadn’t been able to understand up until that point.    My melodies, choruses and songs weren’t four to the floor, and my sentiments were not always cheerful… like having a debut record called Born to Die! But I was able to communicate my feelings in a way that was different from other artists at the time. I had my own unique vocabulary and I had ambitions to be a great American writer. They saw that value in that.    By the time I met Ben in 2009 I had already been playing in local bars and auditioning for major and indie labels for about four years. Although my experiences with open mic nights and playing on the lower east side of New York City was generally positive, my experience playing for labels was mostly the same.   Every meeting ended with the question, Where are the hits? To which I would indignantly reply, I’m sharing my life story! I guess I expected people to see the value in that and to have an a-ha moment.   On some level I think people did love the music, I got a lot of positive feedback, just no calls back. That was probably because nobody knew what to do with the tone of the project and songs, and they couldn’t really envision what my career would look like long term.    But when I met Ben and shortly after I met Ed, I moved to London where they lived, and we did start to get calls back after making the rounds for a few years.   They were the first people who could see the big picture and they loved my music as much as I loved making it. Which I think is the most important thing for a manager: to truly love the projects that they are working on and to want to make the personal and professional commitment it takes to make an artist successful.   Once an artist becomes famous, it really does become a commitment and a shared life between everybody involved. The artist’s ups and downs and the layers of the complexities in the ways that the managers need to be involved, especially in a younger artist’s life, can be extensive.   Crazy ex-boyfriends, complex family histories to work through, previous indie record deals gone wrong, eleven record publishing commitments made at a young age to unwind. All of that before you even think about what the style of the first record should be.   The most valuable thing a manager and an artist can share is to be on the same page as each other for the most important things like principles, ethics and goals.    Eight years ago I told my managers upfront that there were going to be more parts of me that were not for sale than would be for sale. That having a real private life was going to be as big a priority to me as it was to write thoughtful records. I had to fight that a little bit, but we’ve kept them at the forefront of all of our decision making.    On a side note, I’d also just like to say that there is a real cultural shift happening this year with women coming forward telling their stories about experiences in the entertainment business. It’s a real cultural moment.    Me and my managers called each other up the same day that some of these revelations started to be divulged and I felt really lucky that we were on the same page about the fact that we felt like this is going to be a really good thing for artists like me and younger. I had a moment in those weeks thinking about how important it is to have those shared principles.    So to finish, I really am one of those artists who wouldn’t be where I am now without these two people because it does take a village to make an artist go far. They’ve helped find the right people to support me as I travel around the world sharing my music.   I also wanted to say that Dave Chumbley was my booking agent and he passed away this year while we were doing shows in the UK. I feel like if I mention his name, he’d be smiling because he loved stuff like this.    So congratulations, you really deserve it, Ben Mawson and Ed Millet, managers of the year.  
 
Getting some BRIT Awards 2013 Vibes.. I feel like 2017 has been the year of 2013 throwbacks.
 
 

We're probably not going to hear it ever in a couple years.
 
But Lana said that Yosemite was her favorite, and when it was scrapped, she said that Heroin was her new favorite. I mean if she thinks that Yosemite is better than her Magnum Opus - Heroin, we can be sure that it doesn't suck. Btw, she said that TLY is her favorite from Honeymoon, BTD her fave from BTD and that Cruel World is her favorite from UV so the queen has nice taste. I'm sure Yosemite will deliver.
 
And if your taste flops and you don't like acoustic songs, then yeah you're probably not going to like it 

Okay I don't wanna contribute to the Yosemite hype so let's keep in mind that it's all speculation

NEW EDIT:
If LDR5 was called "Best American Record" (an art print that could be a promo image)
I tried to match her look to that photoshoot she was doing with Chuck in January (the blue sweater, coral lipstick, while she was listening to jazz).
Hope you like it.
 
 
 

I've started to get into editing recently and I just wanted to share!
My first edit is what I hope Lana's aesthetic for LDR6 is like. Very surf-rock, tropical inspired. Hope you like it!
 
 
 

I've started to get into editing recently and I just wanted to share!
My first edit is what I hope Lana's aesthetic for LDR6 is like. Very surf-rock, tropical inspired. Hope you like it!
 
 
 

I've started to get into editing recently and I just wanted to share!
My first edit is what I hope Lana's aesthetic for LDR6 is like. Very surf-rock, tropical inspired. Hope you like it!
 
 
 

I've started to get into editing recently and I just wanted to share!
My first edit is what I hope Lana's aesthetic for LDR6 is like. Very surf-rock, tropical inspired. Hope you like it!
 
 
 

I've started to get into editing recently and I just wanted to share!
My first edit is what I hope Lana's aesthetic for LDR6 is like. Very surf-rock, tropical inspired. Hope you like it!
 
 
 

I've started to get into editing recently and I just wanted to share!
My first edit is what I hope Lana's aesthetic for LDR6 is like. Very surf-rock, tropical inspired. Hope you like it!