Vertimus

I feel like she made the production simpler to make the lyrics even more the focal point of the songs (in some of them more than others). Like for example Kintsugi and Fingertips wouldn't hit as hard if they got a big orchestra or a complex instrumentation (and the orchestra in Fingertips is only really noticeable in specific points and lines of the song).
 
It also makes sense considering the most diverse production appears in the less serious songs like Peppers/TTxVB or for example Judah Smith interlude having the most intricate piano in comparison to other tracks. 
 
Other personal and deep songs on the album have prominent and beautiful strings (title track, The Grants) but they still have some simpler moments with room to breathe in comparison to BTD (album) for example, where there was something going on in the background at all times.
 
I prefer that kind of production tho, where even the instrumental on its own was a complete musical piece but I get why she had this switch considering her different approach to music and songwriting now 

Thanks. 

I didn't realise just how similar they sounded until you said that. That would explain my obsession with the two of them 
not too sure about the demo 

I'd like to see her change course, whatever we call the course she's on right now. I'd love to see her go 'full pop' for an album, like Meet Me in the Pale Moonlight, Ride, or Bel Air, not the half-hearted pop of 'Margaret,' with its needless chatter at the end, that only breaks the song up. Sometimes it is better to have a producer making a good deal of the decisions. look at what a great job Rick Rubin did on Ride. I miss the perfection of tracks like Wait for Life—certainly including the production. 
 
It's ironic, not iconic, for me that OB has received 3 Grammy nominations when it's such a scattershot effort, with a lot of poor production and though overall album cohesion doesn't matter a great deal to me, I see little on OB. Maybe the academy feels it's a sort of lifetime achievement nomination for Lana; I don't think those are fair. If an artist is considered for such an award, then let it be an outright 'Lifetime Achievement' award.
 
(Look at Joni Mitchell's crappy new 'Live At Newport' receiving a nomination because she's a legend and has had a hard last two decades. She only does what amount to backup vocals on most tracks, while younger singers take the lead.)
 
As far as the dreamy ballads go, it's hard to say, because everything since Honeymoon has been such a mishmash in terms of song styles and/or quality. We don't know if there's actual logic behind her final choices for an album or if it's done more like, "Well right now I feel this way, I just wrote and produced this song and I'm really excited about it." I tend to think the latter is closer to the truth. I don't think she's very objective about the choice of tracks she places on an album. It's a truism that most artists are poor judges of their own work, and I think that applies to Lana to some definite degree.
 
Since Tori Amos has had a long career in some ways similar to Lana's, and Tori was the artist I listened to the most before Lana and 2012, I know Amos constantly left her best material on the cutting room floor and instead placed often-cringy tracks on albums instead. The best material, which she would often discuss in media, al la 'Yosemite,' was either saved and released on a 'career retrospective' or other compilation project, or on the flip side of the release. As a result, these songs haven't entered broad American culture, are known by almost no one outside of the Amos Stan base, and will no doubt be swept away into the dustbin of history. Which is a shame. 
 
I think Lana will make a mature album, but certainly not necessarily a commercial one, when she takes her time to make and think an album through, limits her advisors, and sticks to some kind of conception of what she wants the result to be. The general public may not want an album of dreamy ballads, but her Stans do, I think (as opposed to tepid piano ballads). Things do change midway, plans and conceptions change, but maybe if she really takes her time before she starts recording, she can stick to some sort of a schedule or overall conception and the result won't be a compromise. I don't see Lana as an album artist because of the poor choices or compromises she has sometimes made lately. 
 
I am thrilled it's been such a big year for her. That she deserves. 

Yes the demo version is classic ambient creepy vibes. Especially the intro. 

I'd like to see her change course, whatever we call the course she's on right now. I'd love to see her go 'full pop' for an album, like Meet Me in the Pale Moonlight, Ride, or Bel Air, not the half-hearted pop of 'Margaret,' with its needless chatter at the end, that only breaks the song up. Sometimes it is better to have a producer making a good deal of the decisions. look at what a great job Rick Rubin did on Ride. I miss the perfection of tracks like Wait for Life—certainly including the production. 
 
It's ironic, not iconic, for me that OB has received 3 Grammy nominations when it's such a scattershot effort, with a lot of poor production and though overall album cohesion doesn't matter a great deal to me, I see little on OB. Maybe the academy feels it's a sort of lifetime achievement nomination for Lana; I don't think those are fair. If an artist is considered for such an award, then let it be an outright 'Lifetime Achievement' award.
 
(Look at Joni Mitchell's crappy new 'Live At Newport' receiving a nomination because she's a legend and has had a hard last two decades. She only does what amount to backup vocals on most tracks, while younger singers take the lead.)
 
As far as the dreamy ballads go, it's hard to say, because everything since Honeymoon has been such a mishmash in terms of song styles and/or quality. We don't know if there's actual logic behind her final choices for an album or if it's done more like, "Well right now I feel this way, I just wrote and produced this song and I'm really excited about it." I tend to think the latter is closer to the truth. I don't think she's very objective about the choice of tracks she places on an album. It's a truism that most artists are poor judges of their own work, and I think that applies to Lana to some definite degree.
 
Since Tori Amos has had a long career in some ways similar to Lana's, and Tori was the artist I listened to the most before Lana and 2012, I know Amos constantly left her best material on the cutting room floor and instead placed often-cringy tracks on albums instead. The best material, which she would often discuss in media, al la 'Yosemite,' was either saved and released on a 'career retrospective' or other compilation project, or on the flip side of the release. As a result, these songs haven't entered broad American culture, are known by almost no one outside of the Amos Stan base, and will no doubt be swept away into the dustbin of history. Which is a shame. 
 
I think Lana will make a mature album, but certainly not necessarily a commercial one, when she takes her time to make and think an album through, limits her advisors, and sticks to some kind of conception of what she wants the result to be. The general public may not want an album of dreamy ballads, but her Stans do, I think (as opposed to tepid piano ballads). Things do change midway, plans and conceptions change, but maybe if she really takes her time before she starts recording, she can stick to some sort of a schedule or overall conception and the result won't be a compromise. I don't see Lana as an album artist because of the poor choices or compromises she has sometimes made lately. 
 
I am thrilled it's been such a big year for her. That she deserves. 

I'd like to see her change course, whatever we call the course she's on right now. I'd love to see her go 'full pop' for an album, like Meet Me in the Pale Moonlight, Ride, or Bel Air, not the half-hearted pop of 'Margaret,' with its needless chatter at the end, that only breaks the song up. Sometimes it is better to have a producer making a good deal of the decisions. look at what a great job Rick Rubin did on Ride. I miss the perfection of tracks like Wait for Life—certainly including the production. 
 
It's ironic, not iconic, for me that OB has received 3 Grammy nominations when it's such a scattershot effort, with a lot of poor production and though overall album cohesion doesn't matter a great deal to me, I see little on OB. Maybe the academy feels it's a sort of lifetime achievement nomination for Lana; I don't think those are fair. If an artist is considered for such an award, then let it be an outright 'Lifetime Achievement' award.
 
(Look at Joni Mitchell's crappy new 'Live At Newport' receiving a nomination because she's a legend and has had a hard last two decades. She only does what amount to backup vocals on most tracks, while younger singers take the lead.)
 
As far as the dreamy ballads go, it's hard to say, because everything since Honeymoon has been such a mishmash in terms of song styles and/or quality. We don't know if there's actual logic behind her final choices for an album or if it's done more like, "Well right now I feel this way, I just wrote and produced this song and I'm really excited about it." I tend to think the latter is closer to the truth. I don't think she's very objective about the choice of tracks she places on an album. It's a truism that most artists are poor judges of their own work, and I think that applies to Lana to some definite degree.
 
Since Tori Amos has had a long career in some ways similar to Lana's, and Tori was the artist I listened to the most before Lana and 2012, I know Amos constantly left her best material on the cutting room floor and instead placed often-cringy tracks on albums instead. The best material, which she would often discuss in media, al la 'Yosemite,' was either saved and released on a 'career retrospective' or other compilation project, or on the flip side of the release. As a result, these songs haven't entered broad American culture, are known by almost no one outside of the Amos Stan base, and will no doubt be swept away into the dustbin of history. Which is a shame. 
 
I think Lana will make a mature album, but certainly not necessarily a commercial one, when she takes her time to make and think an album through, limits her advisors, and sticks to some kind of conception of what she wants the result to be. The general public may not want an album of dreamy ballads, but her Stans do, I think (as opposed to tepid piano ballads). Things do change midway, plans and conceptions change, but maybe if she really takes her time before she starts recording, she can stick to some sort of a schedule or overall conception and the result won't be a compromise. I don't see Lana as an album artist because of the poor choices or compromises she has sometimes made lately. 
 
I am thrilled it's been such a big year for her. That she deserves. 

I'd like to see her change course, whatever we call the course she's on right now. I'd love to see her go 'full pop' for an album, like Meet Me in the Pale Moonlight, Ride, or Bel Air, not the half-hearted pop of 'Margaret,' with its needless chatter at the end, that only breaks the song up. Sometimes it is better to have a producer making a good deal of the decisions. look at what a great job Rick Rubin did on Ride. I miss the perfection of tracks like Wait for Life—certainly including the production. 
 
It's ironic, not iconic, for me that OB has received 3 Grammy nominations when it's such a scattershot effort, with a lot of poor production and though overall album cohesion doesn't matter a great deal to me, I see little on OB. Maybe the academy feels it's a sort of lifetime achievement nomination for Lana; I don't think those are fair. If an artist is considered for such an award, then let it be an outright 'Lifetime Achievement' award.
 
(Look at Joni Mitchell's crappy new 'Live At Newport' receiving a nomination because she's a legend and has had a hard last two decades. She only does what amount to backup vocals on most tracks, while younger singers take the lead.)
 
As far as the dreamy ballads go, it's hard to say, because everything since Honeymoon has been such a mishmash in terms of song styles and/or quality. We don't know if there's actual logic behind her final choices for an album or if it's done more like, "Well right now I feel this way, I just wrote and produced this song and I'm really excited about it." I tend to think the latter is closer to the truth. I don't think she's very objective about the choice of tracks she places on an album. It's a truism that most artists are poor judges of their own work, and I think that applies to Lana to some definite degree.
 
Since Tori Amos has had a long career in some ways similar to Lana's, and Tori was the artist I listened to the most before Lana and 2012, I know Amos constantly left her best material on the cutting room floor and instead placed often-cringy tracks on albums instead. The best material, which she would often discuss in media, al la 'Yosemite,' was either saved and released on a 'career retrospective' or other compilation project, or on the flip side of the release. As a result, these songs haven't entered broad American culture, are known by almost no one outside of the Amos Stan base, and will no doubt be swept away into the dustbin of history. Which is a shame. 
 
I think Lana will make a mature album, but certainly not necessarily a commercial one, when she takes her time to make and think an album through, limits her advisors, and sticks to some kind of conception of what she wants the result to be. The general public may not want an album of dreamy ballads, but her Stans do, I think (as opposed to tepid piano ballads). Things do change midway, plans and conceptions change, but maybe if she really takes her time before she starts recording, she can stick to some sort of a schedule or overall conception and the result won't be a compromise. I don't see Lana as an album artist because of the poor choices or compromises she has sometimes made lately. 
 
I am thrilled it's been such a big year for her. That she deserves. 

"cohensive" vision of the album. like every single song in project is in similiar genre and theme. Lana said that she has lack of vision of DYKTTATUOB and kinda struggling with inspirations.
 
album doesn't need be cohensive to be cohensive. we could have have 15 songs, every single one in different vibe and still be consistent.

I'd like to see her change course, whatever we call the course she's on right now. I'd love to see her go 'full pop' for an album, like Meet Me in the Pale Moonlight, Ride, or Bel Air, not the half-hearted pop of 'Margaret,' with its needless chatter at the end, that only breaks the song up. Sometimes it is better to have a producer making a good deal of the decisions. look at what a great job Rick Rubin did on Ride. I miss the perfection of tracks like Wait for Life—certainly including the production. 
 
It's ironic, not iconic, for me that OB has received 3 Grammy nominations when it's such a scattershot effort, with a lot of poor production and though overall album cohesion doesn't matter a great deal to me, I see little on OB. Maybe the academy feels it's a sort of lifetime achievement nomination for Lana; I don't think those are fair. If an artist is considered for such an award, then let it be an outright 'Lifetime Achievement' award.
 
(Look at Joni Mitchell's crappy new 'Live At Newport' receiving a nomination because she's a legend and has had a hard last two decades. She only does what amount to backup vocals on most tracks, while younger singers take the lead.)
 
As far as the dreamy ballads go, it's hard to say, because everything since Honeymoon has been such a mishmash in terms of song styles and/or quality. We don't know if there's actual logic behind her final choices for an album or if it's done more like, "Well right now I feel this way, I just wrote and produced this song and I'm really excited about it." I tend to think the latter is closer to the truth. I don't think she's very objective about the choice of tracks she places on an album. It's a truism that most artists are poor judges of their own work, and I think that applies to Lana to some definite degree.
 
Since Tori Amos has had a long career in some ways similar to Lana's, and Tori was the artist I listened to the most before Lana and 2012, I know Amos constantly left her best material on the cutting room floor and instead placed often-cringy tracks on albums instead. The best material, which she would often discuss in media, al la 'Yosemite,' was either saved and released on a 'career retrospective' or other compilation project, or on the flip side of the release. As a result, these songs haven't entered broad American culture, are known by almost no one outside of the Amos Stan base, and will no doubt be swept away into the dustbin of history. Which is a shame. 
 
I think Lana will make a mature album, but certainly not necessarily a commercial one, when she takes her time to make and think an album through, limits her advisors, and sticks to some kind of conception of what she wants the result to be. The general public may not want an album of dreamy ballads, but her Stans do, I think (as opposed to tepid piano ballads). Things do change midway, plans and conceptions change, but maybe if she really takes her time before she starts recording, she can stick to some sort of a schedule or overall conception and the result won't be a compromise. I don't see Lana as an album artist because of the poor choices or compromises she has sometimes made lately. 
 
I am thrilled it's been such a big year for her. That she deserves. 

Maybe seeing the response from the fans face to face during the shows and being more active on social media will inspire her to go in a new direction???? Hopefully she doubles back on what she said on the billboards event abt not doing worldbuilding. Idk I just want her to feel inspired and do something great and I love love loveee Ocean Blvd. I just want something that completely gags me again

I'd like to see her change course, whatever we call the course she's on right now. I'd love to see her go 'full pop' for an album, like Meet Me in the Pale Moonlight, Ride, or Bel Air, not the half-hearted pop of 'Margaret,' with its needless chatter at the end, that only breaks the song up. Sometimes it is better to have a producer making a good deal of the decisions. look at what a great job Rick Rubin did on Ride. I miss the perfection of tracks like Wait for Life—certainly including the production. 
 
It's ironic, not iconic, for me that OB has received 3 Grammy nominations when it's such a scattershot effort, with a lot of poor production and though overall album cohesion doesn't matter a great deal to me, I see little on OB. Maybe the academy feels it's a sort of lifetime achievement nomination for Lana; I don't think those are fair. If an artist is considered for such an award, then let it be an outright 'Lifetime Achievement' award.
 
(Look at Joni Mitchell's crappy new 'Live At Newport' receiving a nomination because she's a legend and has had a hard last two decades. She only does what amount to backup vocals on most tracks, while younger singers take the lead.)
 
As far as the dreamy ballads go, it's hard to say, because everything since Honeymoon has been such a mishmash in terms of song styles and/or quality. We don't know if there's actual logic behind her final choices for an album or if it's done more like, "Well right now I feel this way, I just wrote and produced this song and I'm really excited about it." I tend to think the latter is closer to the truth. I don't think she's very objective about the choice of tracks she places on an album. It's a truism that most artists are poor judges of their own work, and I think that applies to Lana to some definite degree.
 
Since Tori Amos has had a long career in some ways similar to Lana's, and Tori was the artist I listened to the most before Lana and 2012, I know Amos constantly left her best material on the cutting room floor and instead placed often-cringy tracks on albums instead. The best material, which she would often discuss in media, al la 'Yosemite,' was either saved and released on a 'career retrospective' or other compilation project, or on the flip side of the release. As a result, these songs haven't entered broad American culture, are known by almost no one outside of the Amos Stan base, and will no doubt be swept away into the dustbin of history. Which is a shame. 
 
I think Lana will make a mature album, but certainly not necessarily a commercial one, when she takes her time to make and think an album through, limits her advisors, and sticks to some kind of conception of what she wants the result to be. The general public may not want an album of dreamy ballads, but her Stans do, I think (as opposed to tepid piano ballads). Things do change midway, plans and conceptions change, but maybe if she really takes her time before she starts recording, she can stick to some sort of a schedule or overall conception and the result won't be a compromise. I don't see Lana as an album artist because of the poor choices or compromises she has sometimes made lately. 
 
I am thrilled it's been such a big year for her. That she deserves. 

I'd like to see her change course, whatever we call the course she's on right now. I'd love to see her go 'full pop' for an album, like Meet Me in the Pale Moonlight, Ride, or Bel Air, not the half-hearted pop of 'Margaret,' with its needless chatter at the end, that only breaks the song up. Sometimes it is better to have a producer making a good deal of the decisions. look at what a great job Rick Rubin did on Ride. I miss the perfection of tracks like Wait for Life—certainly including the production. 
 
It's ironic, not iconic, for me that OB has received 3 Grammy nominations when it's such a scattershot effort, with a lot of poor production and though overall album cohesion doesn't matter a great deal to me, I see little on OB. Maybe the academy feels it's a sort of lifetime achievement nomination for Lana; I don't think those are fair. If an artist is considered for such an award, then let it be an outright 'Lifetime Achievement' award.
 
(Look at Joni Mitchell's crappy new 'Live At Newport' receiving a nomination because she's a legend and has had a hard last two decades. She only does what amount to backup vocals on most tracks, while younger singers take the lead.)
 
As far as the dreamy ballads go, it's hard to say, because everything since Honeymoon has been such a mishmash in terms of song styles and/or quality. We don't know if there's actual logic behind her final choices for an album or if it's done more like, "Well right now I feel this way, I just wrote and produced this song and I'm really excited about it." I tend to think the latter is closer to the truth. I don't think she's very objective about the choice of tracks she places on an album. It's a truism that most artists are poor judges of their own work, and I think that applies to Lana to some definite degree.
 
Since Tori Amos has had a long career in some ways similar to Lana's, and Tori was the artist I listened to the most before Lana and 2012, I know Amos constantly left her best material on the cutting room floor and instead placed often-cringy tracks on albums instead. The best material, which she would often discuss in media, al la 'Yosemite,' was either saved and released on a 'career retrospective' or other compilation project, or on the flip side of the release. As a result, these songs haven't entered broad American culture, are known by almost no one outside of the Amos Stan base, and will no doubt be swept away into the dustbin of history. Which is a shame. 
 
I think Lana will make a mature album, but certainly not necessarily a commercial one, when she takes her time to make and think an album through, limits her advisors, and sticks to some kind of conception of what she wants the result to be. The general public may not want an album of dreamy ballads, but her Stans do, I think (as opposed to tepid piano ballads). Things do change midway, plans and conceptions change, but maybe if she really takes her time before she starts recording, she can stick to some sort of a schedule or overall conception and the result won't be a compromise. I don't see Lana as an album artist because of the poor choices or compromises she has sometimes made lately. 
 
I am thrilled it's been such a big year for her. That she deserves. 

what i think is that lfl b sides was meant to happen only because how much it changed and because of constant change of concept she had to scrap those heaven like songs, so justice for more lfl leaks, i really think we are only yet to witness best unreleased songs (mind u how much of a miracle songs we have now - dragonslayer, come with me etc)
 
personally seated for la who am i to love you (2016) and silverlake they are giving exact those vibes

yesss, the past is the past, we need something brand new. forget about “uv 2.0”, people have been begging for it for years and we’re never going to get it, and honestly, i don’t want it. a brand new, experimental sound please with visuals and world building. 

because this is the only argument that bunch of jack apologists (i mean @Jared ones because i don’t think he trolling i think he is one of those aggressive nfr defenders like their life depend on it) can come up with every time they are just being loud about jack because this is the only way he is still remembered (and ocean blvd too because it the album is iconic) while rick nowels is effortlessly iconic and don’t need that bunch of psycho cheerleaders who’d start this arguement over again for 4 years now on every unrelated lanaboards thread because everybody knows he is truly iconic, sorry but those silly proofs like bad reverb or smth is just a reach and all i can see is that one offended jack stan who saw “jack is bad” like see how post Rick > Jack hurt him, i don’t tell it’s bad like jack but obviously telling rick has issues with production while we have songs like lmlylaw, dance til we die, how to disappear, chemtrails, good song but stupid muffled production that aged bad for me and for many a saw here, i just can’t see a competition here lol i can’t think of one song that rick would did dirty with his production skills

I personally just want new music at this point I will like whatever she puts out 

After all the hatred the media has shown her since BTD, it's interesting to me that they nominate her for a Grammy for something called American Whore, especially all the other changes that have taken place with Lana since 2012. 

I guess most of the nominators don't know what A&W stands for and haven't listened to any of the entries

After all the hatred the media has shown her since BTD, it's interesting to me that they nominate her for a Grammy for something called American Whore, especially all the other changes that have taken place with Lana since 2012. 

After all the hatred the media has shown her since BTD, it's interesting to me that they nominate her for a Grammy for something called American Whore, especially all the other changes that have taken place with Lana since 2012. 

After all the hatred the media has shown her since BTD, it's interesting to me that they nominate her for a Grammy for something called American Whore, especially all the other changes that have taken place with Lana since 2012. 

If they drag her there and leave her empty handed again I’m genuinely gonna start a protest of unparalleled proportions. 

After all the hatred the media has shown her since BTD, it's interesting to me that they nominate her for a Grammy for something called American Whore, especially all the other changes that have taken place with Lana since 2012. 

4 nominations! <3
 
Not that I give a single ounce of credibility to these awards, but so happy for her and her team!