GeminiLanaFan

I wonder if the Quavo collab was always intended as a single for Lasso or if it’s a mutual decision from Lana and her label The MV being filmed last week makes me believe the song wasn’t planned as the lead single…

As many stated before, the post was fake. however, I read that some discussions had happened between Lana and Olivia Rodrigo, surely for her next album. i do hope though that a Billie X Lana collab happens some day.

After having read the girls fighting on the Billie thread on ATRL about who is the most greedy between Billie or Taylor for releasing variants / demo voice notes / isolated vocals (with Olivia making a cameo in the fight as well), let’s just say that I applause Lana for not doing deluxe versions with bonus tracks and such of her albums True, we do have almost ten covers to choose from each time, but in the end, it’s the same album. And my bank account is happy she stopped doing deluxe boxsets with printed lithographs

L’amour extended followed by The Diner: The diner slaps way harder 🔥

Well he’s got his own solo career, with many singles, an EP and a complete LP. Truth be told, I warmed up to Billie after I discovered his solo music. I wonder if it was rushed released to throw a bit of « shade » towards Taylor…

Zane Lowe asked her about what she meant, the last line of the album « want to hear the next one? » and she kinda said nothing while laughing… 👀 Something is brewing

Wildflower and L’amour de ma vie were the ones I liked the least… but they both clicked this weekend and yes, Wildflower is incredible

Pitchfork has rated many « female albums that became classics » a bit (or very much) low upon release, but I guess the « it’s a misogynistic media » narrative isn’t true after all. (I look up the link you gave me and I don’t even know half of the best rated albums there ) I read their rating of Billie’s LP in full and I can’t say I totally disagree with them, TBH. (I guess it’s why I enjoy reading critics, to read other POV, though I don’t take any of them as « sacred as the bible » or something) This is my main question remaining with Billie : as much as I love her work with Finneas, what would an album without him would sound like?

When We All Fall Asleep Where Do We Go? (Debut LP)

Pitchfork gave HMHAS 6.8 It’s getting harder and harder to take this media seriously, they pretty much rank female albums very low and Apple Music named WWAFAWDWG? the 30th best album of all times?!? I mean, it’s good, an incredible debut but in the top 30 of the best albums of all times?

Many Twitter /X fan accounts are speculating there is another part to HMHAS that could be coming July 5, based on the fact that her father is born on July 7… WWAFAWDWG was released on her mother’s birthday and HTE was released on Finneas’s. I don’t know if I choose to believe yet, but if it’s the case, Billie has been playing a very nice Easter egg hunt for many months now. this account has the elements that could support the theory: https://x.com/openuptheblindz/status/1791783041108423005?s=46&t=9DAe1og0lBbLa_v4qZjMpA

I find it a bit funny that she chose Blue Jeans as the Mv she wants to pay homage when, to me, it’s the « most basic » MV of all the BTD era Not that it’s a bad MV, but a bit too much perfume ad…

Lunch is pretty much the only song that stands on its own and is radio-friendly, I guess. Haven’t seen the video but it seems a bit basic, I must say

A double album: one blue, the other red, like the two characters from ilomilo song. The « red visuals »/ photos have been teased through her socials around the same time the « blue pictures » were. HMHAS is short and ends with « want to hear the rest? Next one? (Don’t remember the exact words)

I really like this one, a nice blend of her first two: you do find some of the alt bops from the first one plus the more intimate vibes of the second one. And since it’s ten tracks, none feel useless. I think it might be my favourite from her although it’s still very early, but it could also be because you feel the « Lana family resemblance » in the lyrics/ feelings of the album.

The Dîner doesn’t get enough recognition I fear

I totally agree with you. I don’t want to start a war with Swifties, to each its own, but I’m taking a fucking break from Taylor after TTPD (and she now is selling digital versions of the album with the phone demos?!? I mean come on, aren’t you rich enough?) anyways, back on track, I’d love for Lana to consider Finneas as a producer at some point: he knows how to do minimalism tracks that feel rich and grand. He could pull off some nice tracks with her, with or without Billie.

It’s gonna be nominated for sure and has a very good chance at winning. That category is going to be packed: Billie, Beyoncé, Ariana will have a nom, even Taylor (although I don’t like her latest). Finneas has to be nominated for the production.

I hear a lot of « it’s a bit of samesey album »…

So here is my totally unwanted appreciation of the album: It’s very, very good, like a solid 8. There’s a lot to unpack in those ten tracks and I will need some time to process it all. It’s (surprisingly) a nice blend of Happier Than Ever’s jazzy minimalism and WWAFAWDWG’s weird bops. The star of this album has to be the production: whether it’s for the minimal and intimate tracks or the bigger songs, they all feel rich and grand. The album creates a soundscape evoking the sea, with its many shifts in currents, navigating through the ups of down of Billie’s sapphic failed romance, with strings on both ends of that spectrum. That being said, it’s not a flawless spectacle. The middle tracks (Wildflower and The Greatest) could have fitted on her Guitar Songs EP, although they make sense when L’Amour de ma Vie begins. The snippet game she played in the last weeks was a bit « baiting » us to the nicest elements or parts of the songs (Bittersuite, Chihiro, L’Amour). Sometimes, we wish she separated the tracks into two complete songs instead of blending them together (although, I must admit, you don’t have the time to get bored or tired with any track, since they change so much). The best transitions, to me, are in Chihiro and Bittersuite becoming Blue. Blue is very interesting but I must admit I won’t be deleting the leaked « demo », which is still superior to its part in the finish song (the highlight of Blue is the Born Blue part). Voilà.

Already out in NZ, Australia…

Might be a false alarm: Soundclound is changing their app for a Billie layout 🙄

I warmed up a lot to her this year. To me, she is like a younger cousin to Lana who does bops, with a similar melancholy atmosphere

SoundCloud is teasing something with Billie, with the caption : Should we tell them? 👀