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Liz Taylor Blues

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  3. Posted

    Some thoughts:


    Cruel World:THE PRODUCTION. That bassline. You can tell the song was written over the instrumentals, rather than the usual other way and its glorious. The lyrics are heartbreakingly beautiful per usual. Repetitive, yes. Of course. But it is done in a way that works amazingly well. I get the feeling she’s throwing her man’s words back at him like they’re missiles.The way she changes how she sings the same lyrics from a genuine heartbroken tone to a baby voiced sarcastic way, she’s mocking him and I love it. Also, as a fan of Lana’s coked up white girl vocals THIS SONG DELIVERS THEM. An Accomplishment.


    Ultraviolence: Aptly the title track, Ultraviolence is atmospheric perfection. Like The Crystals “He Hit Me And It Felt Like A Kiss” the productions is a happy beautiful that both contrasts and blends with the disturbing yet heartfelt lyrics. The bridge, like most Lana songs, is my favorite part transcending an already great song. I like the cohesiveness of the record with “lay me down tonight, in my linen and pearls” playing in the background near the end.

    6

  18. Posted

    I like Lost For Life a lot more when I think of it as a compilation album for the years she worked on it rather than an intentional record. I like all the songs on it at least a little bit, and the lyrics actually reference each other a lot more on re-listen so it is cohesive thematically. It's a cute album, it just doesn't fit in with the rest of her discography as it lacks a cohesive sound and statement. I think we'll grow more fond of it in a few years as nostalgia for that era grows. LFL brings back fond memories of the LFL Pre Release Thread, the LA to the Moon tour, driving in my car with guys with this album on. I can't dislike this record for that reason. It's like a time capsule

    4

  22. Posted

     

    Antonoff: At this point, Lana and I have done quite a few songs together, and [“Norman Fucking Rockwell” has] always been my favorite. Because when we got together and started dreaming about the future, that song is the closest thing that sounds like what was in our heads together. It’s a Cliffs Notes for the whole album.

    That album was made in one specific room, with one specific piano, a very specific 12-string guitar, very specific drum kit, very specific patch on the Mellotron that went through a very specific tape echo. We landed on a couple sounds that really sounded like this thing we had thought of, and then we put a helmet on all of them: Nobody touch this drum kit. Nobody move the mic from the piano. The way that piano moves is really loose but doesn’t lose you. That tempo shift going into the chorus I really love, because that was the moment that really didn’t work until it did. The flugelhorn, the strings, her vocal at the end—it sounded like the heavens opening up. Every note, every word, brings me right back to the moment in California when we were doing it. You go in, do the things that feel great, and not think about what anything sounded like. What ended up happening was this bizarre folk album.

     

    Kornhaber: At one point in the song, there’s a feeling like something almost falls on the piano.

    Antonoff: There’s a banging on the piano in the low register, and that’s going through this special tape echo. The whole ethos: If this is the part where we need to put an 808 or a smashing sound, let’s go into the room and bang on the wall. Let’s hit the piano. Let’s make it all, right here.

    Kornhaber: How did you react to Lana’s lyrics?

    Antonoff: Gorgeous. There’s a lot of room to be very classic with some of the production, because she’s saying things that whip it back into modern time. Right away:

    “Goddamn, man-child / You fucked me so good, I almost said I loved you.” She’s right here, right now.

    Kornhaber: Do you have anything to say about Lana’s relationship with the vocal processing and reverb?

    Antonoff: She has, I call them, bat ears. She hears things that disgust her, and she hears things that thrill her. She’s extremely clear on how she wants her vocals to sound. When it comes to reverb, and what’s dry and what’s going to be ethereal, we played with what the lyrics were doing. Does this lyric feel like someone’s talking directly to you, or does it feel like the voice of God?

    https://www.theatlantic.com/entertainment/archive/2019/12/jack-antonoff-taylor-swift-lana-del-rey-and-more/603517/

     

     

    The Word of The Lord. Thanks Be to God

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