Vertimus

It’s my least favorite. 

It's hard to describe what I feel a year after the release of Ocean Blvd. Sure, most of the songs are good, some really good, but the whole album somehow doesn't give me the same as the previous albums, it's her most experimental, I think. Something is missing, but I can't say exactly what it is. Anyway, happy first birthday!  🎈

I love COCC too (though BB remains my favorite---and BB also does not get the love it deserves). The stark Yosemite is a career high point for me. Wild at Heart is pure fun. 

Like I said before, spring will be filled with new releases, so I wouldn’t mind if she delayed the lead for Lasso to this summer. But  a standalone single would be nice in the following weeks, around Coachella, or a nice unexpected collab 

Nectar Of The Gods always had and always will have a special place in my heart  and it kinda hurts me to see it is one of the least streamed songs on the album But having it on streaming services and on vinyl is still a win even if it's a YouTube rip

Beautifully said. I agree. I find it hilarious that it's thought her worst album by some, though I accept it and it's a fair enough opinion.
 
For me, it's leagues better than Ocean Boulevard, which I find redundant (Sweet, Fishtail, and The Grants especially), maudlin (the title track), badly produced and vocally shrill in parts (Grandfather), and self-sabotaging (Margaret would have been much better without the spoken outro). Taco Truck, to me the most interesting song on the album, seems like a wasted opportunity by merging into VB. 
 
BB has to be looked at objectively as an album, not as a record that was released too soon after COCC. 
 
I don't care for the BB title track, wish the unreleased tracks had been cleaned up or remastered, prefer the earlier version of Thunder, and the Ennio Morricone track doesn't serve a purpose, but Arcadia, BBS, IFLDWM, WFWF, Textbook, and VFR are fantastic, and certainly more invigorating than Let Me Love You Like A Woman or TJF, for example. Beautiful, to me, is not offensive and something like the milder tracks on NFR! Sweet Carolina is perhaps too personal a song to be wildly appreciated, but I think we can all understand if not directly relate to its lyrics. 
 
I realize some find the BLM lyric in TB exploitive, superficial, or in bad taste, but I don't personally. She's writing of her time, just as she refers to the pandemic in BBS and VFR. 
 
I'm glad Lana shared what she did on WFWF—it's pretty scathing to me, and, as a piece of songwriting, one of her best. Like Hope, it elevates her as a songwriter, even if, again, not everyone can see themselves in its words (I can). 
 
As a revenge album, she certainly does get some revenge on Arcadia, BBS, and WFWF. I expected more revenge too, but I like what I've found. 

I predominantly look for beauty and melody, and the subtle but pure melodies of IYLDWM and VFR are among her best for me. I'm glad BBS is on the pop side, just as WAH was on COCC. A little levity is a good thing. 
 
There's always a lot of sociology going on on Lanaboards, and it's true that members often express love for unreleased tracks until they're officially released and then the knives come out for them. 
 
I think BB has a bad rep on Lanaboards because of sociology and mass influence. As I've said before, I would love to learn what members would think about a particular song or album over time if they were unable to access the internet and Lanaboard and had, over a period of weeks or months, to come to their own conclusions about a record. I think we'd see a different outcome, maybe a very different outcome, than "NFR! is hands-down Lana's best!" and a lot of the other opinions we typically see expressed over and over and over. 
 
My apologies for accidentally posting it before I had finished. 

Beautifully said. I agree. I find it hilarious that it's thought her worst album by some, though I accept it and it's a fair enough opinion.
 
For me, it's leagues better than Ocean Boulevard, which I find redundant (Sweet, Fishtail, and The Grants especially), maudlin (the title track), badly produced and vocally shrill in parts (Grandfather), and self-sabotaging (Margaret would have been much better without the spoken outro). Taco Truck, to me the most interesting song on the album, seems like a wasted opportunity by merging into VB. 
 
BB has to be looked at objectively as an album, not as a record that was released too soon after COCC. 
 
I don't care for the BB title track, wish the unreleased tracks had been cleaned up or remastered, prefer the earlier version of Thunder, and the Ennio Morricone track doesn't serve a purpose, but Arcadia, BBS, IFLDWM, WFWF, Textbook, and VFR are fantastic, and certainly more invigorating than Let Me Love You Like A Woman or TJF, for example. Beautiful, to me, is not offensive and something like the milder tracks on NFR! Sweet Carolina is perhaps too personal a song to be wildly appreciated, but I think we can all understand if not directly relate to its lyrics. 
 
I realize some find the BLM lyric in TB exploitive, superficial, or in bad taste, but I don't personally. She's writing of her time, just as she refers to the pandemic in BBS and VFR. 
 
I'm glad Lana shared what she did on WFWF—it's pretty scathing to me, and, as a piece of songwriting, one of her best. Like Hope, it elevates her as a songwriter, even if, again, not everyone can see themselves in its words (I can). 
 
As a revenge album, she certainly does get some revenge on Arcadia, BBS, and WFWF. I expected more revenge too, but I like what I've found. 

I predominantly look for beauty and melody, and the subtle but pure melodies of IYLDWM and VFR are among her best for me. I'm glad BBS is on the pop side, just as WAH was on COCC. A little levity is a good thing. 
 
There's always a lot of sociology going on on Lanaboards, and it's true that members often express love for unreleased tracks until they're officially released and then the knives come out for them. 
 
I think BB has a bad rep on Lanaboards because of sociology and mass influence. As I've said before, I would love to learn what members would think about a particular song or album over time if they were unable to access the internet and Lanaboard and had, over a period of weeks or months, to come to their own conclusions about a record. I think we'd see a different outcome, maybe a very different outcome, than "NFR! is hands-down Lana's best!" and a lot of the other opinions we typically see expressed over and over and over. 
 
My apologies for accidentally posting it before I had finished. 

Beautifully said. I agree. I find it hilarious that it's thought her worst album by some, though I accept it and it's a fair enough opinion.
 
For me, it's leagues better than Ocean Boulevard, which I find redundant (Sweet, Fishtail, and The Grants especially), maudlin (the title track), badly produced and vocally shrill in parts (Grandfather), and self-sabotaging (Margaret would have been much better without the spoken outro). Taco Truck, to me the most interesting song on the album, seems like a wasted opportunity by merging into VB. 
 
BB has to be looked at objectively as an album, not as a record that was released too soon after COCC. 
 
I don't care for the BB title track, wish the unreleased tracks had been cleaned up or remastered, prefer the earlier version of Thunder, and the Ennio Morricone track doesn't serve a purpose, but Arcadia, BBS, IFLDWM, WFWF, Textbook, and VFR are fantastic, and certainly more invigorating than Let Me Love You Like A Woman or TJF, for example. Beautiful, to me, is not offensive and something like the milder tracks on NFR! Sweet Carolina is perhaps too personal a song to be wildly appreciated, but I think we can all understand if not directly relate to its lyrics. 
 
I realize some find the BLM lyric in TB exploitive, superficial, or in bad taste, but I don't personally. She's writing of her time, just as she refers to the pandemic in BBS and VFR. 
 
I'm glad Lana shared what she did on WFWF—it's pretty scathing to me, and, as a piece of songwriting, one of her best. Like Hope, it elevates her as a songwriter, even if, again, not everyone can see themselves in its words (I can). 
 
As a revenge album, she certainly does get some revenge on Arcadia, BBS, and WFWF. I expected more revenge too, but I like what I've found. 

I predominantly look for beauty and melody, and the subtle but pure melodies of IYLDWM and VFR are among her best for me. I'm glad BBS is on the pop side, just as WAH was on COCC. A little levity is a good thing. 
 
There's always a lot of sociology going on on Lanaboards, and it's true that members often express love for unreleased tracks until they're officially released and then the knives come out for them. 
 
I think BB has a bad rep on Lanaboards because of sociology and mass influence. As I've said before, I would love to learn what members would think about a particular song or album over time if they were unable to access the internet and Lanaboard and had, over a period of weeks or months, to come to their own conclusions about a record. I think we'd see a different outcome, maybe a very different outcome, than "NFR! is hands-down Lana's best!" and a lot of the other opinions we typically see expressed over and over and over. 
 
My apologies for accidentally posting it before I had finished. 

I actually love this album a lot, I think people just don’t get it which is fair. I love a lot of the songs, but it’s prob her least cohesive album. So I understand why people don’t like it as an album. 

See that’s the thing tho isn’t it. Bc she did the whole fan album with LFL, and with how this forum loves to pivot - fans praise unreleased tracks to the point of worship, but when it gets released it’s another story, details here n there, and even if she lost the tracks, releasing them as is fits the theme of being who she is, not what everyone expects and wants her to be. 
 
This album is a revenge album. So many people stay in more heated mindsets and they get lost in it, and she contrasts this by for the most part, keeping composed and going inward.
 
She strips what the public frames her in, intergenerational trauma, public narratives, relationships with men to finding wholeness within and of herself, the difficult relationship she’s had with her own mother affecting her own personhood to cleansing that, and on top of that, being able to find the courage and strength of instead of spreading pain, chooses to be loving and nurtures. 
 
I don’t think a lot of people today even still realize that. Bc it doesn’t fit some kind of edginess, or it doesn’t have many bangers (jargon jargon), people find it dull, but it’s honestly just a reflector on where someone might be when it comes to their own personhood and layers of self awareness and knowing. 
 
We’re used to people’s opinion being treasured expectantly and entitledly, but at the end of the day when you strip things to the bottomline, you’ve got an artist sharing more tender offerings. That’s just incredibly brave and it’s never so much about us, and yes the relationship btwn art and audience, but I think it takes a certain fortitude and finesse to realize that she’s been wanting to be understood for a long time. Not to be thought of binarily, but to just have a safe space where she’s allowed a little more patience than what’s she might’ve been deprived of for so long. Her fanbase no less. So she did it for herself. 
 
Focus that on personal experiences in your own life, and it can connect so beautifully. Yes you might find it boring bc what she wants for herself might be this wrote about thing of wanting kids/ family a simpler life, but it's more so of reclaiming yourself and living your own life, however you want to. That's another thing people seem to miss (to seemingly berate her for that shows a kind of double standard when all she's ever wanted to do was be herself). 
 
This isn’t directed directly towards you, I’m just passionate in defending this album and how it’s a real treasure that’s often misunderstood or written off for not fulfilling some kind of standard, when in reality, it IS it's own kind of standard and work. 
 
Just cus it seems soft or sweet, doesn’t mean that it didn’t take hell for it experienced, and what more, if the latter, how amazing is it to have very much retained it’s very essence and despite what she’s had to’ve carried for so long. It’s a dissipating, dispelling and disarmingly beautiful thing, only if you’ve found the secret of being aware of it.

She looks terrific. As mentioned, she looks like the Lana of a much earlier era. 

She looks terrific. As mentioned, she looks like the Lana of a much earlier era. 

She looks terrific. As mentioned, she looks like the Lana of a much earlier era. 

She looks terrific. As mentioned, she looks like the Lana of a much earlier era. 

She looks terrific. As mentioned, she looks like the Lana of a much earlier era. 

The more I listen to it, the more I love it. It’s very creative. I’d like to see her do a lot more in this vein.

I see, thanks. That's a shame because I think Blue Skies is 100% better than Country Roads, which to my ear sounds like a first-run demo. 

That's exactly how I feel and why it's my most-played and favorite of Lana's albums. There's a pure serenity to a lot of the newer tracks.
 
And unlike on OB, where several of the tracks seem half-baked, repetitive (TJF and Fishtail, for example), or fractured, on BB the songs seem whole and fleshed out. To me. 
 
I haven't tired of listening to it yet, not since its release. 

Well!
 
The reason that happens is because, before Lana, Tori was the most 'recent, still working and releasing albums' artist that meant the most to me. And she still does. But, as I've said here, the relentless intrusion of knee jerk politics into her work, and especially into her interviews, always turned me off and made it hard for me to dream while listening to her work. And she's so full of outrage, and always feels, in a very boring manner, that she, and only she, has to and can save the world, like a momma lion with her cubs. So I was always only 2/3rds able to relate to her and settle into her music. Tori is a brilliant musician and instrumentalist.
 
Then I heard Lana, who has a much wider scope, vision, and focus, and Lana fulfilled/fulfills me in a manner that Tori does not. Occasionally, they have themes in common. 

I seriously cannot wait for this album to come out! I'm curious about the sound. I don't think we're getting a full on traditional country sounding album, but more of a folk-ish/americana with country influence type of sound...? 
 
I don't know, Henry doesn't really scream country to me. Although, Lana is not really known for providing accurate sound descriptions  
 
I definitely expect a style similar to Chemtrails, but perhaps even more stripped down. Very chill and quiet, but I guess we'll have to wait and see!
 
 

manifesting ldr11 being an album full of piano ballads produced by drew erickson so that @Psychedelic Pussy and @ivory almond can collectively have a mental breakdown  

I see, thanks. That's a shame because I think Blue Skies is 100% better than Country Roads, which to my ear sounds like a first-run demo. 

I see, thanks. That's a shame because I think Blue Skies is 100% better than Country Roads, which to my ear sounds like a first-run demo. 

Got it, thank you. 

I see, thanks. That's a shame because I think Blue Skies is 100% better than Country Roads, which to my ear sounds like a first-run demo.