urbannoize

Lana Del Rey & JAY Z - Florida Kilos, Blow

 
 
Music: Florida Kilos (Urban Noize Remix)

Lana Del Rey & JAY Z - Florida Kilos, Blow

 
 
Music: Florida Kilos (Urban Noize Remix)

Just commented on the analyzation of Music To Watch Boys To, here are my thoughts on it. Including a good idea for a video treatment that would taken the record to another level:
 
This record is a world of its own. With such a unique, otherworldly cinematic feel. Giving me Alfred Hitchcock "Rear Window" feels. Entering a world of voyeurism and mystery.
Still think the video in my opinion should've been inspired by those things. Her spying those guys she's into. Building up story mini story of voyeurism, mystery and obsession.
 
"the title (of the song) lends itself to a visual of shadows of men passing by, this girl's eyes, her face. I can definitely see things". - Lana
 
But then again its just me thinking to deep lol. Lana's music inspires that kind of visualization.

Yes World at War definitely has that too. & I gotta look up that reference to the creature of the black lagoon. Thats really dope. Kind of like the intro to 13 beaches with Carnival of the souls. It would make her music that much incredible thinking about if she added more that vibe.

Yes World at War definitely has that too. & I gotta look up that reference to the creature of the black lagoon. Thats really dope. Kind of like the intro to 13 beaches with Carnival of the souls. It would make her music that much incredible thinking about if she added more that vibe.

Thank you! And glad you understood the vision. Because so much of what shes does musical reminds me of moments from classic cinema. The cinematic, thrilling, spooky vibes set the tone and paints her pictures really well.

Np, I remember when she referenced the Creature of Black Lagoon, and just vibed with it. I hope she incorporates that thrill back into her music again. I know World at War sorta had that vibe, but imagine moree? 

Thank you! And glad you understood the vision. Because so much of what shes does musical reminds me of moments from classic cinema. The cinematic, thrilling, spooky vibes set the tone and paints her pictures really well.

No I can see it too. I was re-watching the film and immdiately thought of Honeymoon's opening strings. There are a lot of "spooky" vibes that come from HM, and I love how Lana makes it so beautiful, the peril, the mortality of things and how it makes living all the more worth living. Short answer, +1, yes. 

Just commented on the analyzation of Music To Watch Boys To, here are my thoughts on it. Including a good idea for a video treatment that would taken the record to another level:
 
This record is a world of its own. With such a unique, otherworldly cinematic feel. Giving me Alfred Hitchcock "Rear Window" feels. Entering a world of voyeurism and mystery.
Still think the video in my opinion should've been inspired by those things. Her spying those guys she's into. Building up story mini story of voyeurism, mystery and obsession.
 
"the title (of the song) lends itself to a visual of shadows of men passing by, this girl's eyes, her face. I can definitely see things". - Lana
 
But then again its just me thinking to deep lol. Lana's music inspires that kind of visualization.

I thought this would be fun to do. Lana's ode to Marilyn Monroe's Happy Birthday Mr President combined.
 

Urban Noize's Summer Bummer remix as one of the soundtracks to the counter-culture late 60s indie drama Easy Rider
 

 
 
Music: Summer Bummer (Urban Noize Remix) ft. A$AP Rocky, Playboi Carti

Urban Noize's Summer Bummer remix as one of the soundtracks to the counter-culture late 60s indie drama Easy Rider
 

 
 
Music: Summer Bummer (Urban Noize Remix) ft. A$AP Rocky, Playboi Carti

Urban Noize & Lana Del Rey - I Just Wanted You To Know (LDR Remixes) 
  Over the past couple of months while working on a ton of new remixes, I couldn't help but work on some new Lana ones. As I always do. Ultimately culminating into a nice new project. Inspired by her fourth studio album Honeymoon, her debut Born To Die, and the 3rd Dan Auerbach Ultraviolence, "I Just Wanted You To Know" slowly came together. Ranging from alternative rock, progressive rock & psychedelic pop. 
 

Urban Noize's Summer Bummer remix as one of the soundtracks to the counter-culture late 60s indie drama Easy Rider
 

 
 
Music: Summer Bummer (Urban Noize Remix) ft. A$AP Rocky, Playboi Carti

Lana Del Rey back on instagram and preparing for a show tonight in Prague. 

She's a true artist! I love ha

Blake Stranathan, Lana’s Del Rey guitarist sharing some of the co-writing process of Ultraviolence with Lana in 2014 for strymon
 
Can you share what the co-writing process was like with Lana Del Rey on the new album Ultraviolence?
It was probably the best experience of my life so far. I was in New York visiting family, and Lana invited me down to Electric Lady Studios, which was always a dream of mine being a Hendrix nut. It was surreal being and working there. We wound up being there for 8 or 9 days with basically the entire place to ourselves. I had played guitar on a couple tracks that were pretty much finished, but one morning I came to the studio super early just to work out some tones and play in that amazing live room. As I was coming up with some progressions, Lana walked in and we came up with “Pretty When You Cry” on the spot. It was recorded through a Neve 8078 which just sounded unreal. None of it was planned which certainly added to the vibe. The same happened with “Cruel World”. I was actually watching a video of the ‘BigSky’ on my computer and showed it to her. She said, “Fuck! That sounds amazing. We need that.” (Laughs) So a couple of hours later, a runner went out and grabbed one. On the last day while Phil Joly, the engineer, was bouncing down a couple sessions, and she asked me if I wanted to play around with the new pedal in the live room. I played maybe a few chords and we immediately started writing ‘Cruel World’. We recorded it just guitar and vocal in one take, and then Dan Auerbach went on to produce the song not long after. Everything about the recording and writing process was super organic, plus the energy in that studio is very powerful. I came up with the guitars for ‘Flipside‘ at home in Los Angeles using the BigSky as well. I made a quick video clip and sent it to her phone. We wound up writing the song a couple days later at her house, and then recorded it at a studio later that night. Strymon definitely played a big role in shaping the sound of the record.
https://www.strymon.net/pedalboard-feature-blake-stranathan/

You're welcome. It was a pleasure reading and sharing. I really liking hearing about how records come together. Especially from some of my favorite artists like Lana

You're welcome. It was a pleasure reading and sharing. I really liking hearing about how records come together. Especially from some of my favorite artists like Lana

Thanks for sharing, I don't know much about guitars and equipment but I've always wondered what kind of things/brands they use for recording the songs. My brother has lots of electric guitars so I know they all sound different from each other... I've always been a bit curious I guess.

Blake Stranathan, Lana’s Del Rey guitarist sharing some of the co-writing process of Ultraviolence with Lana in 2014 for strymon
 
Can you share what the co-writing process was like with Lana Del Rey on the new album Ultraviolence?
It was probably the best experience of my life so far. I was in New York visiting family, and Lana invited me down to Electric Lady Studios, which was always a dream of mine being a Hendrix nut. It was surreal being and working there. We wound up being there for 8 or 9 days with basically the entire place to ourselves. I had played guitar on a couple tracks that were pretty much finished, but one morning I came to the studio super early just to work out some tones and play in that amazing live room. As I was coming up with some progressions, Lana walked in and we came up with “Pretty When You Cry” on the spot. It was recorded through a Neve 8078 which just sounded unreal. None of it was planned which certainly added to the vibe. The same happened with “Cruel World”. I was actually watching a video of the ‘BigSky’ on my computer and showed it to her. She said, “Fuck! That sounds amazing. We need that.” (Laughs) So a couple of hours later, a runner went out and grabbed one. On the last day while Phil Joly, the engineer, was bouncing down a couple sessions, and she asked me if I wanted to play around with the new pedal in the live room. I played maybe a few chords and we immediately started writing ‘Cruel World’. We recorded it just guitar and vocal in one take, and then Dan Auerbach went on to produce the song not long after. Everything about the recording and writing process was super organic, plus the energy in that studio is very powerful. I came up with the guitars for ‘Flipside‘ at home in Los Angeles using the BigSky as well. I made a quick video clip and sent it to her phone. We wound up writing the song a couple days later at her house, and then recorded it at a studio later that night. Strymon definitely played a big role in shaping the sound of the record.
https://www.strymon.net/pedalboard-feature-blake-stranathan/

Blake Stranathan, Lana’s Del Rey guitarist sharing some of the co-writing process of Ultraviolence with Lana in 2014 for strymon
 
Can you share what the co-writing process was like with Lana Del Rey on the new album Ultraviolence?
It was probably the best experience of my life so far. I was in New York visiting family, and Lana invited me down to Electric Lady Studios, which was always a dream of mine being a Hendrix nut. It was surreal being and working there. We wound up being there for 8 or 9 days with basically the entire place to ourselves. I had played guitar on a couple tracks that were pretty much finished, but one morning I came to the studio super early just to work out some tones and play in that amazing live room. As I was coming up with some progressions, Lana walked in and we came up with “Pretty When You Cry” on the spot. It was recorded through a Neve 8078 which just sounded unreal. None of it was planned which certainly added to the vibe. The same happened with “Cruel World”. I was actually watching a video of the ‘BigSky’ on my computer and showed it to her. She said, “Fuck! That sounds amazing. We need that.” (Laughs) So a couple of hours later, a runner went out and grabbed one. On the last day while Phil Joly, the engineer, was bouncing down a couple sessions, and she asked me if I wanted to play around with the new pedal in the live room. I played maybe a few chords and we immediately started writing ‘Cruel World’. We recorded it just guitar and vocal in one take, and then Dan Auerbach went on to produce the song not long after. Everything about the recording and writing process was super organic, plus the energy in that studio is very powerful. I came up with the guitars for ‘Flipside‘ at home in Los Angeles using the BigSky as well. I made a quick video clip and sent it to her phone. We wound up writing the song a couple days later at her house, and then recorded it at a studio later that night. Strymon definitely played a big role in shaping the sound of the record.
https://www.strymon.net/pedalboard-feature-blake-stranathan/

Blake Stranathan, Lana’s Del Rey guitarist sharing some of the co-writing process of Ultraviolence with Lana in 2014 for strymon
 
Can you share what the co-writing process was like with Lana Del Rey on the new album Ultraviolence?
It was probably the best experience of my life so far. I was in New York visiting family, and Lana invited me down to Electric Lady Studios, which was always a dream of mine being a Hendrix nut. It was surreal being and working there. We wound up being there for 8 or 9 days with basically the entire place to ourselves. I had played guitar on a couple tracks that were pretty much finished, but one morning I came to the studio super early just to work out some tones and play in that amazing live room. As I was coming up with some progressions, Lana walked in and we came up with “Pretty When You Cry” on the spot. It was recorded through a Neve 8078 which just sounded unreal. None of it was planned which certainly added to the vibe. The same happened with “Cruel World”. I was actually watching a video of the ‘BigSky’ on my computer and showed it to her. She said, “Fuck! That sounds amazing. We need that.” (Laughs) So a couple of hours later, a runner went out and grabbed one. On the last day while Phil Joly, the engineer, was bouncing down a couple sessions, and she asked me if I wanted to play around with the new pedal in the live room. I played maybe a few chords and we immediately started writing ‘Cruel World’. We recorded it just guitar and vocal in one take, and then Dan Auerbach went on to produce the song not long after. Everything about the recording and writing process was super organic, plus the energy in that studio is very powerful. I came up with the guitars for ‘Flipside‘ at home in Los Angeles using the BigSky as well. I made a quick video clip and sent it to her phone. We wound up writing the song a couple days later at her house, and then recorded it at a studio later that night. Strymon definitely played a big role in shaping the sound of the record.
https://www.strymon.net/pedalboard-feature-blake-stranathan/

Blake Stranathan, Lana’s Del Rey guitarist sharing some of the co-writing process of Ultraviolence with Lana in 2014 for strymon
 
Can you share what the co-writing process was like with Lana Del Rey on the new album Ultraviolence?
It was probably the best experience of my life so far. I was in New York visiting family, and Lana invited me down to Electric Lady Studios, which was always a dream of mine being a Hendrix nut. It was surreal being and working there. We wound up being there for 8 or 9 days with basically the entire place to ourselves. I had played guitar on a couple tracks that were pretty much finished, but one morning I came to the studio super early just to work out some tones and play in that amazing live room. As I was coming up with some progressions, Lana walked in and we came up with “Pretty When You Cry” on the spot. It was recorded through a Neve 8078 which just sounded unreal. None of it was planned which certainly added to the vibe. The same happened with “Cruel World”. I was actually watching a video of the ‘BigSky’ on my computer and showed it to her. She said, “Fuck! That sounds amazing. We need that.” (Laughs) So a couple of hours later, a runner went out and grabbed one. On the last day while Phil Joly, the engineer, was bouncing down a couple sessions, and she asked me if I wanted to play around with the new pedal in the live room. I played maybe a few chords and we immediately started writing ‘Cruel World’. We recorded it just guitar and vocal in one take, and then Dan Auerbach went on to produce the song not long after. Everything about the recording and writing process was super organic, plus the energy in that studio is very powerful. I came up with the guitars for ‘Flipside‘ at home in Los Angeles using the BigSky as well. I made a quick video clip and sent it to her phone. We wound up writing the song a couple days later at her house, and then recorded it at a studio later that night. Strymon definitely played a big role in shaping the sound of the record.
https://www.strymon.net/pedalboard-feature-blake-stranathan/