theresanameforitinjapanese

Lana: I’m gonna scrap Yosemite from LFL but I’m still gonna talk about being or not being a candle in the wind on all of my future records so that my fans won’t forget about that song they’ll never hear

So I actually listened to the snippet 2 more times because I hadn’t heard it too closely the first time. I gotta say, it sounds real good to me. I didn’t hear at first why everyone was comparing it to Cinnamon Girl, but now I do. It’s gotta similar chord progression but it’s airier and lighter. It gives me Honeymoon meets NFR teas

They meant posting snippets again as in just like during the NFR era

Chemtrails Over The Country Club boxset idea.
It will come with..
- The album
- A deluxe version of the album with a different cover.
- An EP of outtakes (8 songs)
- An EP of demos.
- A set of printed photoshoots. 
- Some kind of merch, Like a jacket or hat.
- A sighed photo of lana.
 

the vocals on TJF remind me of Birds Of A Feather, which I would love for her to rerecord for this 

Will the cat be on the album?
 
Tulsa Jesus Freak (Cat Remix)

God Bless America - And All The Beautiful Women In It is a banger. So get your hopes up

So Tulsa Jesus Freak and WHF are two different songs, huh? Double release!?!?

how does this sound like NFR at all to some of you like genuinely wondering 

well, i mean same producer, roughly same timeframe, so its to be expected tbh...also NFR is her best album so I'm so pumped the sounds may be similar 

AH IM GONNA MANIFEST THIS RN

where are the insiders for real 

born of confusion and quiet DELUSION of which mostly the gays and girls known...

had a dream about her announcing chemtrails, this is getting sad

If we don’t get news on the album soon... the gays will RIOT

This is lanaboards, so yes

I still have hope in Septempter 5th.
 

~ Popping in for page 333 to manifest Yosemite ~

i asked an online ouija board if the album is really coming soon and it told me yes, then i asked if it was sure, it said yes. do whatever you want with this info, if you can even call this info. 

Bartender always gives me Lizzy Grant vibes, and I wasn't sure why, for a while, but I think I've figured it out -- it's very much written in her Lizzy Grant mode. Excuse the following spill, but I'm an English major and I can't help myself
 
The fact that the Lizzy Grant era fell between the very different writing styles of the May Jailer/Lizzi era and the LDR era makes it an odd mix of both -- it's partially slice-of-life, confessional lyrics, akin to a track like Blizzard, but it's also got a heightened, unreal edge, which Lana would ~fully~ embrace by the time Born to Die rolled around, where her lyrics became less about telling straightforward stories and more about loftier sets of ideas, imagery, and emotion.
 
For example, take the trio of Drive By, Kill Kill, and Dark Paradise, all connected by the theme of the "dying man."
 
Drive By is Lizzi telling us a story, with few frills and few digressions, but plenty of details -- K is her friend, K killed someone, and K is serving time. It's sung basically as it would be told, save for her questions posed to K in the choruses, and the rhymes between lines -- and that's part of the charm of the May Jailer recordings; for the most part, they're simple and unadorned and seemingly pretty apt documents of what Lizzi Grant was feeling and thinking in 2005. 
 
Skip ahead to Dark Paradise, and you see what's almost a full 180: the story is mostly to be inferred -- all the listener knows (context about Lana's larger body of lyrics and her life put aside) is that Lana's lover is ostensibly dead, and she can't deal with his absence. It's not not a story, but it's far from the detailed account given in Drive By, spelled out down to the number of years K is going to serve. Another striking contrast is that Dark Paradise brims with artistic lyrical devices, as opposed to the plain quality of Drive By -- so much so that it reads as pretty melodramatic, what with all the grandiose death metaphors and ghostly images.
 
Then, you look at Kill Kill, written right in the middle of the two other tracks. There's still a defined sense of storytelling and a slice-of-life, confessional quality held over from the May Jailer era: Lizzy is "in love with a dying man," he "bounds up the stairs" while she's "in the shower," she asks her lover to "tell [her] about Ray and his girl," because "Ray is going to meet [him]." There's nothing inherently artistic about these lyrics; they could just as easily come from a conversation as they could from a song, just like in Drive By. However, Lizzy uses this grounded base to lay her more oblique and artful lyrics on, with lines like "stars fade from your eyes" or the cryptic bridge of "One, two/Make it fun/Don't trust anyone." There's definitely a story here -- the heroine is leaving her dying beau -- as there was in the May Jailer era, but it's as if we've only been privy to snippets of the story: who is Ray, and why is the dying man meeting him? Why is Lizzy leaving her lover? How does the bridge relate -- who mistrusts who, and who's playing the situation like a game?
 
Therefore, a song like Kill Kill -- and much else of the Lizzy Grant canon -- succeeds because of this blend: the listener is given pieces of a story, modified by occasional cryptic phrases and florid lines, that creates lyrics that feel real, but also decidedly off-kilter and unreal. I think the best comparison really is David Lynch, who presents realities that are recognizable, but just strange and off-beat enough that an unsettling, unusual atmosphere is created. 
 
So, for a long time, I think Lana had mostly moved out of this mode of writing -- Born to Die through Lust for Life feel to me like they're in the same vein, with the balance moving more towards the emotion and conceptuality present in her lyrics, with little definite story -- hence the rise of Lanalysis that sought to attach more definite stories to her songs by making connections to her personal life. 
 
However, NFR!, I think, represents something of a return to form -- it's not identical to the Lizzy Grant style of writing, because the songs certainly feel somewhat more grounded in reality than her LG works, but it's much closer to that style than anything she's released in a very long time. It sees her acting as a storyteller again, first and foremost, and using those stories as a base for the larger emotions and ideas she wants to express, rather than flipping that around and using vague stories to connect her emotions. (Of course, this isn't to say that that means of writing isn't great -- it's responsible for Lana's golden age, and without it, we wouldn't have the same quintessential LDR persona and era.) 
 
This is all lead-up to say that I think Bartender is a track that exemplifies this matured form of the Lizzy Grant writing style: the story is present, based in reality, and has a confessional air, with Lana intimating her quests to meet her lover and avoid the paparazzi, along with day-in-the-life descriptions of her exploits with her girlfriends. However, as she did then, she modifies this story with an edge of surreality and drama: the "ladies of the canyon" are "dressed in black" or "dressed in white" and play "games of levitation," her conquests to avoid being photographed are framed as "the little game that we play," and she, somewhat sinisterly, compares the poetry she thinks up to a warm gun, resting inside her. It's all based in her real life, but is told with just enough unreality to be incredibly intriguing.
 
In essence, she's once again balanced her songwriting bents: the straight storytelling she began with, and the grand melodrama she became famous with -- and what she's doing now is not at all unlike the transition period that was the Lizzy Grant era. 
 
And, did I mention how much I love that? 

According to an insider, Lana read the COCC pre release thread on Lanaboards and couldn't stop laughing. "These little fuckers really think I'm making an announcement today. What a bunch of clowns," were Lana's words before she fell off her chair and gasped. Meanwhile, the "Born to Fool" singer is doing better again. Her fans are still hopeful that something is coming today or tomorrow but it's a dangerous thing...
 
I really should go to bed now...maybe I wake up to some news...

I’d even take fake news at this point

rough(ish) concept
kind of going for the side of a car from the 80s kind of look but I'm still trying to figure out the execution of this

Manifesting 2 hours from now

the amount of times i've refreshed this thread since 3pm