urbannoize

Thank you, thank you ! And i feel the same also ! Which why i do Lana remixes in this fashion so much. And this one is going to be fun! Drop this coming week

NEW MUSIC: Lana Del Rey - High By The Beach [urban Noize Remix]   Approaching this song once again, stripping away the contemporary sound of Lana's hypnotic trap esque record High By The Beach, and giving it a retro psychedelic 60s pop feel was really fun. With elements of surf rock and psychedelic.
 
https://soundcloud.com/remixprojectsune/hbtb-60s-pop-mix

Omg this is so cool ! I love it when remixes give a song a new life instead of slowing down/speeding up the vocals on a différent instrumental ! Can't Wait to hear it in full !

NEW MUSIC: Lana Del Rey - High By The Beach [urban Noize Remix]   Approaching this song once again, stripping away the contemporary sound of Lana's hypnotic trap esque record High By The Beach, and giving it a retro psychedelic 60s pop feel was really fun. With elements of surf rock and psychedelic.
 
https://soundcloud.com/remixprojectsune/hbtb-60s-pop-mix

NEW MUSIC: Lana Del Rey - High By The Beach [urban Noize Remix]   Approaching this song once again, stripping away the contemporary sound of Lana's hypnotic trap esque record High By The Beach, and giving it a retro psychedelic 60s pop feel was really fun. With elements of surf rock and psychedelic.
 
https://soundcloud.com/remixprojectsune/hbtb-60s-pop-mix

NEW MUSIC: Lana Del Rey - High By The Beach [urban Noize Remix]   Approaching this song once again, stripping away the contemporary sound of Lana's hypnotic trap esque record High By The Beach, and giving it a retro psychedelic 60s pop feel was really fun. With elements of surf rock and psychedelic.
 
https://soundcloud.com/remixprojectsune/hbtb-60s-pop-mix

Haha, thanks ! Really glad you like it. And as soon as the coming week. Between Monday and Wednesday.

OMFG THIS SOUNDS AMAZING
 
When is it coming??

NEW MUSIC: Lana Del Rey - High By The Beach [urban Noize Remix]   Approaching this song once again, stripping away the contemporary sound of Lana's hypnotic trap esque record High By The Beach, and giving it a retro psychedelic 60s pop feel was really fun. With elements of surf rock and psychedelic.
 
https://soundcloud.com/remixprojectsune/hbtb-60s-pop-mix

Adele said she "Loves Lana Del Rey" when she was asked who she's a big fan of (around 2:20)

Lana was interviewed by Bruce Wagner ( screenwriter of Maps to The Stars). This is really promising and really weird because he's known for observing the hollywood life or "the dark side of fame". I wonder how he will portray Lana since she shares similar ideas in her songs 

This photoshoot looks promising. Beautiful cover.
 

Rick Rubin has the greatest of reputations of putting the pieces together musically, while bringing out the best of the artist in the process. From Johnny Cash's comeback years ago, to Red Hot Chili Peppers, Shakira, Metallica Kanye and more. Check an intercept from an interview below that explains his method. Taken from a Forbes interview http://www.forbes.com/sites/ruthblatt/2014/04/28/how-super-producer-rick-rubin-gets-people-to-do-their-best-work/. So it was pretty cool to read Lana's point of view on how everything happened for Ride.
 
“Many people don’t listen,” Rubin told me. “If you listen carefully, people explain to you what it is that they need.” Rubin gets artists to open up about their deeper motives. “I’ll spend time with an artist and listen very carefully to what they tell me and get them to talk about their true goals, their highest, highest goals,” he said. “We’ll go back to the heart of why they started doing what they are doing in the first place.”
Meditation helps people accept the full range of their experience, the good as well as the bad, the light as well as the dark. Rubin applies this non-judgment stance to help the artists he works with open up their creativity. “One of the main things I always try to do is to create an environment where the artist feels pretty comfortable being naked,” he said. “That kind of a safety zone where their guard is completely let down and they can truly be themselves and feel open to exposing themselves. It’s very powerful when people do that, when people really open up.”
Based on his conversations with each artist, Rubin figures out how to support their strengths and downplay their weaknesses. Which is how he can work with such a wide spectrum of artists. For example, he encourages some artists to write while they are driving because that the attention they devote to driving prevents them from second-guessing themselves. For one artist who was struggling with lyrics, he invented a game with magnetic poetry to help him access his intuition about what the songs meant to him."
 

I think she meant that Ride was written with Justin parker, but the label didnt like it so they send her to work with Rick Rubin

On Doing “Ride” With Rick Rubin
 
I was writing that Paradise edition, and originally was writing it as a follow-up record, but nobody wanted to release something eight months later. It ended up being a re-release-slash-second edition, and I loved this demo I did with Justin Parker, who I wrote a lot of things with like “Video Games” and “Born to Die,” “National Anthem,” and Ferdy Unger-Hamilton at EMI hated the song. So I think him and Rick had been talking and Rick was like, “What’s going on with Lana? Can she come over, I hear she’s in L.A.” I think I had been over to say “Hi” to him first. Just to say “​hi.” We took a walk in Santa Monica—he takes the same walking route every morning. Then a few weeks later I brought him “Ride,” and he really liked it. Working with him was good, I was still in my old car, my old Mercedes that was barely making it down that hour-and-a-half drive down to Shangri-La Studios in Malibu, and it was really good. He has this sprawling lawn with all these bunnies and palm trees. He was very relaxed. It was good.
 
On the Most Important Person She Ever Shared a Cigarette With  
Probably my manager, who is still my manager, Ben Mawson, over the last four years. He doesn’t smoke anymore, but he used to smoke more than me and drink 12 beers a day. I met him, he told me to just come to London and I did. I just went and met him. I think they were at Shoreditch House, so we went on the roof and had a cigarette. He felt like I was really worried about everything, and he told me that he had a plan and that everything was going to go OK and not to worry. He was very aggressive, and he was such a believer. So probably with Ben, I guess.
 
 
On Making Art Vs. Satisfying the Major Label Machine 
I came in in a unique position in that “Video Games” had so many views, and that was the reason why Jimmy Iovine at Interscope and Ferdy Unger-Hamilton at Polydor had called me on that day and wanted to revisit the record and hear it again.
So I got signed on great terms because the discussions we were having were that it was always going to be my way. I liked coming from this DIY place where if I had a single that they really felt like they wanted to put money behind or promote—I liked knowing it was an option that I could make my own video at home for it, like I did with “Video Games.” Eventually I tired of that, graduated to working with other people. But in that way I was in a really good place after the record was done with its cycle.
I think the label was half-and-half on this record [Ultraviolence] because there were a lot of jazz undertones and West Coast references. I think they were happy that I was happy with it and that I made it. I don’t think they felt like there were singles that could work at radio. And I kind of felt that, because I have such a good relationship with Jimmy and Ferdy. I’ve been working, “working” [makes air quotes], singing, for years. So the people I’m closest with are like my product manager and the video commissioner, because they’re really good girls. The A&R guys—Larry Jackson and John, if I go out at night I probably go out with them. We’re pretty flexible with each other, but it always come down to differences. For example, the bonus tracks on this record I didn’t feel like had any relation to the atmosphere of the record itself. I think iTunes was like, “You would have trouble promoting a record if it didn’t have a deluxe edition,” so, there’s stuff like that.
 
 
http://www.complex.com/music/2015/09/lana-del-rey-interview-outtakes/?utm_campaign=complexmag&utm_source=twitter&utm_medium=social

I completely agree, she's more and more eloquent and less and less apologetic. And no worries

A long stalled project because i'm bad at finalising things and compiling them. I think this album is so amazing and infinitely inspiring, what I really wanted to show was Lana Del Ray. The transition between Lizzy Grant to Lana Del Rey. I feel like the defining look of that is Lana in the short film Poolside. She looks insanely good there. All the images of Lana used in this packaging are screencaps from the short film which I have retouched and further edited to make look like official photographs and to improve the quality greatly for print. I used the official cover art as a main inspiration because I think even though it's very low-tech it still has a great atmosphere in it, so I wanted to create something similar. The atmosphere in this album to me is very noir-ish, so I chose to use all grayscale images in the booklet, an effect with sunken highlights which makes the images feel quite sultry.

Gatefold LP 12” Vinyl. 
The blue vinyl is the only striking colour here. It's a nod to Lana's homemade videos and her love for party store toy aquariums. It's the opposite to the yellow I featured prominently through the album design.
 

 

 

16-page booklet mockup
 
 


★ Preview / Download full-res digital booklet ★
 
 
 

Bonus: Album demos artwork
 
 
I've been working on this on / off for so long! Please tell me what you think and be sure to find any lyrics corrections because it's inevitable I probably messed something up!

Loved your version of Honeymoon cover so I thought it would be fun to make it a bit more BTD-esuque (this sounds too funny not to write it).
I hope you don't mind me giving it a spin.
 

I actually made this like 9 months ago and never got round to posting it cause its one of my favourites. I feel like there is a real vision I had behind this. Inspired by the sound of that guitar riff in Blue Jeans, always makes me think of this sick 90s grunge rock thing. I was trying to imagine how Born To Die the album could have been directed in a more amped up way. It's a manipulation I did like 3 years ago and I made a few more changes including tattooing "Lana" on the imitation Bradley's skin.
 

Done
 
How did you lived the incomprehension facing your album Ultraviolence last year?
I inherited from my father's philosophical side: if things aren't too bad, then they go well. I feel privileged to be able to continue making what I adore. I don't care about critics of my records but they change the way people are going to listen to my music, so as well receive favourable echoes...
 
Did you then needed this lightness in your life, this nonchalance?
In a way, it was an antidote to what happened in my life. I needed to make an album that sounds exactly like what I had in head. It was the only way to preserve my vision. I always needed this kind of simplicity. I felt a real nonchalance in regards to the way the music was going to be received and at the same time I was totally obsessed by my craft, my songs. It is the best possible state of mind when you're making an album.
 
Around you, were there too many people to give their opinion, their advice?
There is constantly a lot of people and they all emit many opinions about my current album. It's not because I despise them all but... When it comes to produce, in particular the voice, I feel comfortable only if I remain faithful to what I hear in me. I did not recorded Ultraviolence in reaction to anybody or anything: it's just the record I wanted to write, and the way I wanted it to sound like.
 
Do you worry, in the name of expectations, in front of the blank page?
I feel very distant from these expectations, doubtless because the reaction from people to my music remains fundamentally different from mine. I just felt overwhelmed at a moment when everywhere everyone said that my music was only extreme sadness, even harmful. The best remedy was to close shutters and to continue to work.
 
You then thought of escaping?
Yes, that can be the real temptation, in several possible manners... My brain and my imagination tend to turn at top speed, my escapes are thus rather physical - to move out for example. I feel the need to live something different, neurologically or physically... I always found ways to escape. And without resorting to imaginary friends; I have never had some.
 
Can you sometimes just slam the door?
It is always possible to run away. The big problem, is that everywhere where I go, I leave with my own self. Thus it is complicated for me to escape as I would wish it. The two places were I succeed it are at the beach and while driving. For a long time, my own music was my most beautiful source of escape... When it became more concrete over the years, it became my reality, what I tried to escape. Nevertheless, I have a visceral relation to music, it is one of the most intimate and most natural things for me. In terms of pleasure, I place it on the same level as sex.
 
Why does music took such a place in your life?
Because I was intended to make some. I contented with making what I was supposed to make and that totally invaded my life. It is what arrives when we are on the right track. Until a few years ago, I considered certain musicians as an enormous inspiration. I felt a lot of love for them, but in a healthy way! I recently lost a little of this connection.
 
You sing a bit of a text from David Bowie on the album. Was he always in your pantheon?
Sometimes, when you sing and improvise, sentences appear from nowhere... I hope that he won't mind. But I am convinced that his words appeared for a reason, thus I never changed this line. He's such an exciting soul. He comes of an extraordinary period, with all this music, the art, the energy of the time. (We tell her about a photo gathering, in 1973, Bowie, Iggy Pop and Lou Reed) I would have adored living in this era, with incredible friends!
 
To what extent did your relationship to the craft of singing evolved since your beginnings?
Since a decade, I completely dived, with delight, into this craft. I remember with tenderness my first steps, even if it's very far... But recently, I less cared about structures, compositions, I let things create themselves, naturally. To be honest, this musical freedom is exciting, I feel blessed. It's as if you escaped from structures which until then defined you and that you evolved in another psychic dimension, that you pushed back the limits of your soul thanks to the words and to the melodies...
 
Are you technically very involved?
In terms of sounds, arrangement, production, it's fundamental for me to be very precise. On an album, the part dedicated to the mixing and to the mastering takes an enormous deal of time. With my producer and my engineer, I am totally involved in this work. With me, long after I stopped composing songs, the production evolves constantly, until the last minute. I am thus very fastidious on this aspect too, which takes me a lot of time. I however felt more fluid, more eloquent with the "language of the music" when I was younger... I have already said many things in my records and I had many experiences these last two years which eventually ended up parasiting the transmissions, the translations between the muse and me.
 
What did you change in your working methods for Honeymoon?
Not much, I contented this time with not looking for a second producer to disrupt the sound of the album as it had begun. Last year, I made everything with Rick Nowels before taking this album to Dan Auerbach. This time, I stayed in studio with Rick and we finished everything together. He is at the same time my partner and a dear friend.
 
Did a word, an idea defined the aesthetics of this new album?
The song Honeymoon defined the tone, with Music to Watch Boys to. I adore the idea of "honeymoon", it's the peak of a romantic relation... It's even supposed to be the most beautiful moment of the life of a woman... I probably tried to make my life more beautiful than it was. All the feelings, all the concerns which I feel, all the questions I ask myself about the future influence the words, of course, but also the melodies... Other than that, I did not feel outside influences for this album, if it is not for jazz and trap music, that marked the production of both songs.
 
Do you remember your first guitar?
My uncle Tim had lent me his, I did not kept it, it stayed at his home.
 
Where does your nostalgia comes from?
I'm thinking all the time, I'm rather contemplative, my passion for beautiful movies doubtless explains why my aesthetics can be thought of as nostalgia... I also am very romantic: the combination of all this is maybe called nostalgia. I prefer to think that I just have very good tastes! Will I one day compose my own soundtrack? Who knows, it's maybe written in my future...
 
What would you like to change in you?
I would want to live without concern, without fear.
 
This interview is so amazing, I really love her answers here

"MUSIC TO WATCH BOYS TO" MUSIC VIDEO

- Directed by Kinga Burza - 

OUT NOW

i honestly can't tell whether i like franco or not. 

Indeed this is a great Lana interview. Because of the fact that she was able to express herself without feeling like every question being asked is a condescending or demeaning one. Or a journalist purposely placing an emphasis on certain things because they either want to make her look crazy or dumb. When in fact shes a real intelligent and eccentric artist that can be understood if you allow her to express herself without taking things out of context. Its clear that Lana is a guarded person who only somewhat open up to those shes comfortable with. And even then she's still in state of lock down because shes wants to keep parts of her life under control. But yea, all in all she does her best interviews with people she knows well & that shes comfortable with.

Indeed this is a great Lana interview. Because of the fact that she was able to express herself without feeling like every question being asked is a condescending or demeaning one. Or a journalist purposely placing an emphasis on certain things because they either want to make her look crazy or dumb. When in fact shes a real intelligent and eccentric artist that can be understood if you allow her to express herself without taking things out of context. Its clear that Lana is a guarded person who only somewhat open up to those shes comfortable with. And even then she's still in state of lock down because shes wants to keep parts of her life under control. But yea, all in all she does her best interviews with people she knows well & that shes comfortable with.