IanadeIrey

Gorgeous!

LA to the MOON - tour poster. I am really happy with the outcome of this! Hope you love it as much as I do
 
 
 

NEW EDIT:
Music to Watch Boys to video still in colour!
Really happy with how this came out
 
 

NEW EDIT:
Music to Watch Boys to video still in colour!
Really happy with how this came out
 
 

I recall Lana talking about how time was a central theme throughout the record. That feeling of timelessness and what one's interpretation of timelessness reveals about their own self is what I personally view as an overarching theme throughout the record. 
 
The whole record contains this feeling of time, both moving backwards and forwards. Both melodically and sonically. Burnt Norton in particular illustrates this lyrical idea of certain events and mindsets of different times coexisting in the past, present, and future. I feel like this was included as the interlude of the record because it almost serves as a metaphor for that gap between who Lizzy was/is and who Lana Del Rey is calculated to be. There are parts of Lizzy that exist within Lana and there are parts of Lana that were part of Lizzy even before Lana was calculated. What also leads me to believe this is something Lana said from the Billboard 2015 interview: Lana referred to herself as "her" rather than "I," saying that she's "protective of her - Lana..." Lana also stated this year that she did view "Lana Del Rey" as more of a persona than herself.  Also, in early 2015, Lana changed her Instagram icon to a picture of Lizzy. In terms of the sonic aspect, there is a lot of recycling of various sounds and the inverting of various instrumental sequences throughout songs. For example, the drums at the end of Religion slow down into nothingness, which almost sounds like time stopping. In HBTB, the last "high" sequences are later used for the Swan Song intro. Salvatore features a laugh that sounds both played forward and in reverse (it is more prominent in the instrumental rather than the actual album track). I feel like time is a metaphor for Lana versus Lizzy, and timelessness refers to parts of Elizabeth Woolridge Grant that exist in all versions of herself. 
 
 
Of course, there are also some songs that deal with Lana versus Lizzy, like Swan Song, where she asks both her man and herself if everything they're doing is really worth it, perhaps the theme of freedom in the song is letting go of who Lana Del Rey is ("I will never sing again" is quite open to interpretation but definitely fits this). God Knows I Tried also deals with escaping fame and feeling free. In fact, the whole record is called Honeymoon. A honeymoon is something that is to be enjoyed without any stress, and it is meant to be done in a fashion that ensures the privacy and relaxation of one. The privacy aspect is key to Lana versus Lizzy, because Lana is probably not the coolly detached, stiletto-nailed, false-eyelash batting Lana Del Rey when she's on her own time, at least not at the time of the journeys chronicled in Honeymoon. Honeymoon is the bridge between that persona of Lana from Born to Die, Paradise, and Ultraviolence, to the more grounded, aware of the real world Lana that is present in Lust for Life.
 
I could go on, but I would take forever. Honeymoon is an album that has a lot beyond it's surface and I have so much to say about it. I don't know if what I wrote was what you were looking for, but I hope it was!

I recall Lana talking about how time was a central theme throughout the record. That feeling of timelessness and what one's interpretation of timelessness reveals about their own self is what I personally view as an overarching theme throughout the record. 
 
The whole record contains this feeling of time, both moving backwards and forwards. Both melodically and sonically. Burnt Norton in particular illustrates this lyrical idea of certain events and mindsets of different times coexisting in the past, present, and future. I feel like this was included as the interlude of the record because it almost serves as a metaphor for that gap between who Lizzy was/is and who Lana Del Rey is calculated to be. There are parts of Lizzy that exist within Lana and there are parts of Lana that were part of Lizzy even before Lana was calculated. What also leads me to believe this is something Lana said from the Billboard 2015 interview: Lana referred to herself as "her" rather than "I," saying that she's "protective of her - Lana..." Lana also stated this year that she did view "Lana Del Rey" as more of a persona than herself.  Also, in early 2015, Lana changed her Instagram icon to a picture of Lizzy. In terms of the sonic aspect, there is a lot of recycling of various sounds and the inverting of various instrumental sequences throughout songs. For example, the drums at the end of Religion slow down into nothingness, which almost sounds like time stopping. In HBTB, the last "high" sequences are later used for the Swan Song intro. Salvatore features a laugh that sounds both played forward and in reverse (it is more prominent in the instrumental rather than the actual album track). I feel like time is a metaphor for Lana versus Lizzy, and timelessness refers to parts of Elizabeth Woolridge Grant that exist in all versions of herself. 
 
 
Of course, there are also some songs that deal with Lana versus Lizzy, like Swan Song, where she asks both her man and herself if everything they're doing is really worth it, perhaps the theme of freedom in the song is letting go of who Lana Del Rey is ("I will never sing again" is quite open to interpretation but definitely fits this). God Knows I Tried also deals with escaping fame and feeling free. In fact, the whole record is called Honeymoon. A honeymoon is something that is to be enjoyed without any stress, and it is meant to be done in a fashion that ensures the privacy and relaxation of one. The privacy aspect is key to Lana versus Lizzy, because Lana is probably not the coolly detached, stiletto-nailed, false-eyelash batting Lana Del Rey when she's on her own time, at least not at the time of the journeys chronicled in Honeymoon. Honeymoon is the bridge between that persona of Lana from Born to Die, Paradise, and Ultraviolence, to the more grounded, aware of the real world Lana that is present in Lust for Life.
 
I could go on, but I would take forever. Honeymoon is an album that has a lot beyond it's surface and I have so much to say about it. I don't know if what I wrote was what you were looking for, but I hope it was!

BEST AMERICAN RECORD single cover. Inspired by her look at the 2017 San Francisco show. 
 
 
 
 
 

LA to the MOON - tour poster. I am really happy with the outcome of this! Hope you love it as much as I do
 
 
 

24 COVER ART
 
Pretty simple edit, just edited her face from the recent Another Man outtake 
 
 

NEW EDIT:
Music to Watch Boys to video still in colour!
Really happy with how this came out
 
 

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!
 
 
 

NEW EDIT:
Music to Watch Boys to video still in colour!
Really happy with how this came out
 
 

24 COVER ART
 
Pretty simple edit, just edited her face from the recent Another Man outtake 
 
 

I hope the LA to the Moon tour is mostly Lust for Life and Honeymoon songs. I want the concert to have a beachy cali feel to it. 

I recall Lana talking about how time was a central theme throughout the record. That feeling of timelessness and what one's interpretation of timelessness reveals about their own self is what I personally view as an overarching theme throughout the record. 
 
The whole record contains this feeling of time, both moving backwards and forwards. Both melodically and sonically. Burnt Norton in particular illustrates this lyrical idea of certain events and mindsets of different times coexisting in the past, present, and future. I feel like this was included as the interlude of the record because it almost serves as a metaphor for that gap between who Lizzy was/is and who Lana Del Rey is calculated to be. There are parts of Lizzy that exist within Lana and there are parts of Lana that were part of Lizzy even before Lana was calculated. What also leads me to believe this is something Lana said from the Billboard 2015 interview: Lana referred to herself as "her" rather than "I," saying that she's "protective of her - Lana..." Lana also stated this year that she did view "Lana Del Rey" as more of a persona than herself.  Also, in early 2015, Lana changed her Instagram icon to a picture of Lizzy. In terms of the sonic aspect, there is a lot of recycling of various sounds and the inverting of various instrumental sequences throughout songs. For example, the drums at the end of Religion slow down into nothingness, which almost sounds like time stopping. In HBTB, the last "high" sequences are later used for the Swan Song intro. Salvatore features a laugh that sounds both played forward and in reverse (it is more prominent in the instrumental rather than the actual album track). I feel like time is a metaphor for Lana versus Lizzy, and timelessness refers to parts of Elizabeth Woolridge Grant that exist in all versions of herself. 
 
 
Of course, there are also some songs that deal with Lana versus Lizzy, like Swan Song, where she asks both her man and herself if everything they're doing is really worth it, perhaps the theme of freedom in the song is letting go of who Lana Del Rey is ("I will never sing again" is quite open to interpretation but definitely fits this). God Knows I Tried also deals with escaping fame and feeling free. In fact, the whole record is called Honeymoon. A honeymoon is something that is to be enjoyed without any stress, and it is meant to be done in a fashion that ensures the privacy and relaxation of one. The privacy aspect is key to Lana versus Lizzy, because Lana is probably not the coolly detached, stiletto-nailed, false-eyelash batting Lana Del Rey when she's on her own time, at least not at the time of the journeys chronicled in Honeymoon. Honeymoon is the bridge between that persona of Lana from Born to Die, Paradise, and Ultraviolence, to the more grounded, aware of the real world Lana that is present in Lust for Life.
 
I could go on, but I would take forever. Honeymoon is an album that has a lot beyond it's surface and I have so much to say about it. I don't know if what I wrote was what you were looking for, but I hope it was!

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. 

Tbh that just isn't film worthy. Besides being political songs, they aren't cohesive as one story.  
But if you took 13 Beaches, Heroin, and Get Free...NOW you're onto something.
She gave up on trying to find an escape on earth (13 beaches), so she flies to the moon And watches the world from afar. (Heroin) After gathering a peace of mind and letting go of the past..she creates a world in her image on the moon. Exotic flowers. Beautiful blue oceans. Magical creatures. (Get free). And then she returns to earth one last time to perform a concert and spread the love. The screen fades to black just as the kids find their seats in the theatre. (It ends where LOVE begins )

I recall Lana talking about how time was a central theme throughout the record. That feeling of timelessness and what one's interpretation of timelessness reveals about their own self is what I personally view as an overarching theme throughout the record. 
 
The whole record contains this feeling of time, both moving backwards and forwards. Both melodically and sonically. Burnt Norton in particular illustrates this lyrical idea of certain events and mindsets of different times coexisting in the past, present, and future. I feel like this was included as the interlude of the record because it almost serves as a metaphor for that gap between who Lizzy was/is and who Lana Del Rey is calculated to be. There are parts of Lizzy that exist within Lana and there are parts of Lana that were part of Lizzy even before Lana was calculated. What also leads me to believe this is something Lana said from the Billboard 2015 interview: Lana referred to herself as "her" rather than "I," saying that she's "protective of her - Lana..." Lana also stated this year that she did view "Lana Del Rey" as more of a persona than herself.  Also, in early 2015, Lana changed her Instagram icon to a picture of Lizzy. In terms of the sonic aspect, there is a lot of recycling of various sounds and the inverting of various instrumental sequences throughout songs. For example, the drums at the end of Religion slow down into nothingness, which almost sounds like time stopping. In HBTB, the last "high" sequences are later used for the Swan Song intro. Salvatore features a laugh that sounds both played forward and in reverse (it is more prominent in the instrumental rather than the actual album track). I feel like time is a metaphor for Lana versus Lizzy, and timelessness refers to parts of Elizabeth Woolridge Grant that exist in all versions of herself. 
 
 
Of course, there are also some songs that deal with Lana versus Lizzy, like Swan Song, where she asks both her man and herself if everything they're doing is really worth it, perhaps the theme of freedom in the song is letting go of who Lana Del Rey is ("I will never sing again" is quite open to interpretation but definitely fits this). God Knows I Tried also deals with escaping fame and feeling free. In fact, the whole record is called Honeymoon. A honeymoon is something that is to be enjoyed without any stress, and it is meant to be done in a fashion that ensures the privacy and relaxation of one. The privacy aspect is key to Lana versus Lizzy, because Lana is probably not the coolly detached, stiletto-nailed, false-eyelash batting Lana Del Rey when she's on her own time, at least not at the time of the journeys chronicled in Honeymoon. Honeymoon is the bridge between that persona of Lana from Born to Die, Paradise, and Ultraviolence, to the more grounded, aware of the real world Lana that is present in Lust for Life.
 
I could go on, but I would take forever. Honeymoon is an album that has a lot beyond it's surface and I have so much to say about it. I don't know if what I wrote was what you were looking for, but I hope it was!

The lyrics seemed to be kinda simple and basic at the beginning, but apparently they are deeper than assumed.
 
This album is really like fine wine. It gets better with age

@lanadelrey “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.“
 
Do you mind elaborating the “Lana Del Rey versus Lizzy“ part?
 
I recall @graham4anything mentioning at least a similar theory.

I listen to the whole record without skipping any song

I’m listening to honeymoon and remembering why I love this record so much. Her vocals here are heaven, and the songs are very sweet and heartwarming. I love you Honeymoon <3

i remember listening to Swan Song for the first time, it was my favorite off of the entire record- it's still like #5/6 but i remember when i heard the bridge and the "do you like where you've been and where you're going to" i jus about broke
 
like who the fuck gave her the RIGHT to make me question my life on such short notice
 
n bitch i questioned it the entire time i was listening through it again

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