This is what the original uploader (who has only ever uploaded one torrent, despite being on the site since 2005) says of the NKF demos on Dimeadozen.org
I think the July 2014 edition is out now. I'll try to get it this Friday or Saturday and will take photos of it. So far, the Piranha Magazine Online published an interview and also changed their Facebook background photo and added Lana. https://www.facebook.com/piranha.magazin
Wir treffen Lana Del Rey am Tag nach ihrem gefeierten Auftritt beim kalifornischen Wüstenfestival Coachella. Das Hotel heißt The Sunset Marquis, liegt in West Hollywood und ist seit Jahrzehnten eine Rock’n’Roll-Institution. Lana kommt in Begleitung ihres Freundes, dem schottischen Musiker Barrie-James O’Neill, herbeigeschlendert, sie trägt eine helle Bluse, eine kurze Jeanshose und Sandalen. Die Haare sind brünett, sie sieht sehr viel natürlicher und attraktiver aus als beim Treffen zu „Born To Die“ vor zweieinhalb Jahren. Viel ist seither passiert, die 28-Jährige, die als Elizabeth Grant zur Welt kam und unter diesem Namen zwei feine, jedoch wenig beachtete Alben veröffentlichte, hat mit ihrem sich in der Ästhetik der 60er sonnenden Breitwandpop die ganze Welt bezirzt. „Video Games“ und „Summertime Sadness“ sind beinahe schon Klassiker, die Erwartungen an die Neue „Ultraviolence“ naturgemäß hoch.
Der Eindruck: Nicht nur Lanas Äußeres ist natürlicher geworden, auch der Sound. Der Synthesizer, der HipHop, die beatorientierten Elemente des Vorgängers spielen keine Rolle mehr. Prägend ist stattdessen ein von den späten Sixties bis Seventies (Eagles, Fleetwood Mac, Beach Boys) beeinflusster Opulenz-Pop mit großzügigem Streichereinsatz, Gitarren und einer Stimme, die mindestens so traurig-wehklagend schön klingt wie auf „Born To Die“. Natürlich schwelgen die Melodien weiter in Wärme und Melancholie, die Single „West Coast“ war so herrlich verträumt, wie man sich das von Lana erhoffen durfte. Und was will man von Songs, die z.B. „Money Power Glory“ oder „Fucked My Way Up To The Top“ heißen, anderes erwarten als theatralischen, hochklassigen Pop? Dass „Ultraviolence“ trotz aller Hymnenhaftigkeit nicht überladen klingt, dafür sorgte nicht zuletzt Dan Auerbach. Der Frontmann der Knarzrocker The Black Keys, ein ausgewiesener Minimalist, hat das Album nämlich produziert.
Lana, wie hat dir dein Auftritt beim Coachella.Festival gefallen?
Richtig super. Ich muss sogar sagen, dieser Auftritt war einer der schönsten Momente überhaupt. Es war einfach toll. Alles lief so leicht. Und bei mir ist ja sonst gar nichts leicht im Leben.
Die Leute haben haben, als "Video Games" erschien, stark an deiner Echtheit, an der Authentizität deiner Musik gezweifelt.
Oh Gott, ja. Das war ein Riesenthema.
Stimmst du zu, dass du diese Kontroverse für dich entschieden hast? Keiner behauptet mehr, dass du eine Reißbrettproduktion bist, oder?
Möglich, ja. Ich bin nach wie vor etwas misstrauisch, was die Meinungen anderer angeht. Und doch bin ich von meiner Musik überzeugt, das war ich auch immer. Ich bin mir sicher: Man kann keine bleibenden Werte in der Popmusik schaffen, wenn man nichts zu erzählen hat. Oder wenn man bloß ein flüchtiges Phänomen ist. Ich weiß jetzt schon genau, dass ich später meinen Kindern meine ganze Lebensgeschichte anhand meiner Songs erzählen kann.
Warum hast du so stark polarisiert?
Das wusste ich nie, und ich weiß es tatsächlich bis heute noch nicht. Vielleicht war ich mit meiner Geschichte und meinen Erlebnissen, die ich in die Songs einfließen ließ, zu ehrlich. Ich fand es schade und traurig, dass Aufrichtigkeit auf so viel Ablehnung stieß.
In "Fucked My Way Up To The Top" singst du, "Life is awesome", also "Das Leben ist super". Ist das jetzt deine neue Lebenseinstellung?
Nun, der Song ist ein gutes Stück weit sarkastisch zu verstehen. Er handelt von dieser Sängerin, die ich absolut nicht leiden kann. Und sie mich auch nicht. Sie hat sich erst über meinen angeblich nicht wahrhaftigen Stil beklagt, dann hat sie meinen Stil geklaut und kopiert. Und jetzt tut sie so, als sei ich das Kunstprodukt und sie die wahre authentische Superkünstlerin. Dabei ist sie die Unehrliche, die Nachmacherin, die Möchtegern-Stilikone. Das regt mich so auf.
Ist "Money Power Glory" ebenfalls aus deinem Haifischkäfig-Leben als Popstar?
Ja. Die beiden Songs sind ähnlich, fast wie Brüder. Als ich „Money Power Glory“ schrieb, war ich tieftraurig wie seit Jahren nicht. Sicher, ich verdiente zum ersten Mal seit Jahren Geld, ich hatte eine gewisse Aura, also irgendwo auch Macht, und erlebte durchaus glorreiche Momente. Aber die Anerkennung, die ich mir so sehr gewünscht hatte, blieb mir verwehrt. Mir hat es nie etwas bedeutet, berühmt zu sein. Mir ging es immer darum, Respekt zu bekommen.
Die Songs auf "ultraviolence" sind eher ruhig, getragen, manchmal hymnisch und sehr atmosphärisch. Die HipHop-Elemente des ersten Albums "Born To Die" sind in den Hintergrund gerückt.
Das stimmt. Die große Überschrift bei „Ultraviolence“ lautete „Gefühl“. Beim ersten Album ergab es sich durch die Arbeit mit dem Produzenten Emile Haynie, der auch ein alter, guter Freund von mir ist, dass einige Songs so einen 90er-Jahre-HipHop-Beat bekamen. Und während ich bereits im Studio an „Ultraviolence“ arbeitete, traf ich zufällig Dan Auerbach in einem Restaurant in New York. Wir gingen in einen Nachtclub, sie spielten „Summertime Sadness“ und wir fingen an, zusammen zu tanzen. Dann schauten wir uns so an, lachten und sagten fast gleichzeitig: „Wäre es nicht total witzig, wenn wir zusammen ins Studio gehen würden?“ Ich mochte an Dan, dass er so spontan war, dass er einfach mal „Ja“ sagte zu mir und meinen kreativen Vorstellungen und Entscheidungen. Ich flog eine Woche später nach Nashville, er lud seine Lieblingsmusiker ein und sechs Wochen später war die Platte fertig.
Du hast allen nostalgischen Retro-Einflüssen zum Trotz eine ganz eigene Klangsprache entwickelt.
Danke, das bedeutet mir sehr viel, wenn du das sagst. Ich bin immer noch so dankbar, überhaupt ein Publikum erreicht zu haben mit meiner Musik. Egal, was andere sagen: Ich habe meine Musik nach meinen eigenen Vorstellungen entwickelt. Ich bin kein Retortenprodukt, das muss ich nochmal verdeutlichen.
Lebst du jetzt eigentlich in Los Angeles?
Ja, ich wohne mit Barrie sowie meinen beiden jüngeren Geschwistern Charlie und Caroline in einem Häuschen etwas außerhalb von Los Angeles.
Du bist also ein West-Coast-Mädchen geworden?
Ja. Ich mag die Kultur und die Geschichte der Westküste sehr gerne. In meinem neuen Video spielt zum Beispiel mein Lieblingstätowierer Mark Mahoney mit, das ist einer der ganz großen Könner seines Fachs. Marks Energie und die Energie der Skateboard-Profis, die ebenfalls in dem Video zu sehen sind, ergeben so ein geiles L.A.-Gemisch, auf das ich sehr, sehr abfahre.
Hast du dich mit deinem Leben zwischen Brooklyn-Indie und Hollywood-Weltstar nun arrangiert?
Tja, das ist wohl meine Lebensaufgabe. An manchen Tagen gelingt mir das spielerisch leicht, an anderen habe ich etwas an meiner Identität zu knabbern und weiß nicht, wo ich genau hingehöre. Zum Glück werden die guten Tage mehr und die schlechten Tage weniger.
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Google Translate:
We meet Lana Del Rey on the day after her acclaimed performance at the California desert festival Coachella. The hotel is called The Sunset Marquis, located in West Hollywood and has been for decades a rock'n'roll institution. Lana comes accompanied by her friend, the Scottish musician Barrie-James O'Neill herbeigeschlendert, she is wearing a light blouse, a short jeans and sandals. The hair is brunette, she looks much more natural and more attractive than at the meeting to "Born To Die" two and a half years ago. Much has happened since then, the 28-year-old who came to the world as Elizabeth Grant and published two fine, but neglected albums under this name, has with her is charmed the whole world in the aesthetic of the 60s sunning Breitwandpop. "Video Games" and "Summertime Sadness" are already almost classic, the expectations of the New "Ultraviolence" naturally high.
The impression: Not only Lana's appearance has become more natural, also the sound. The synthesizer, hip hop, the beat-oriented elements of its predecessor, no longer play a role. A key feature is instead one of the late Sixties and Seventies (Eagles, Fleetwood Mac, Beach Boys) influenced opulence-Pop with large strings used guitars and a voice that sounds at least as sad wailing beautiful as "Born To Die". Of course, the melodies continue to have heat and melancholy, the single "West Coast "was dreamy as glorious as you could hope that by Lana. And what you want of songs that, for example, "Money Power Glory" or "Fucked My Way Up To The Top" hot, expect other than theatrical, high-class pop? That "Ultraviolence" despite all Hymnenhaftigkeit not overloaded sounds, made sure not least Dan Auerbach. The frontman of the Knarzrocker The Black Keys, a renowned minimalist, has the album that is produced.
Lana, how did you like your appearance at Coachella.Festival?
Really great. I have to even say this performance was one of the best moments ever. It was just great. Everything was so easy. And with me is yes otherwise nothing easy in life.
People have, as "Video Games" appeared strongly doubted your authenticity, the authenticity of your music have.
Oh God, yes. This was a huge issue.
You agree that you decided this controversy to you? No one claiming more that you are a drawing board production, right?
Possible, yes. I'm still a little suspicious of what other terms of opinions. And yet I am convinced of my music, I was always. I am certain: You can not create lasting values in pop music, if you have nothing to tell. Or if one is a volatile phenomenon only. I already know for sure that I can later tell my children my whole life story through my songs.
What took you so strongly polarized?
I never knew, and I do not know yet actually to this day. Maybe I was with my story and my experiences that I had included in the songs, to be honest. I found it unfortunate and sad that sincerity came across so much rejection.
In "Fucked My Way Up To The Top" you sing, "life is awesome", that "life is great". Is this your new way of life?
Well, the song is to understand a good deal far sarcastically. It is about this singer I absolutely can not stand. And they did not me too. She has complained before about my allegedly not true style, then they stole and copied my style. And now she acts as if I was the art product and the true authentic super artist. She is the dishonest, the Nachmacherin, the wannabe style icon. This upsets me so.
Is "Money Power Glory" also from your shark cage-life as a pop star?
Yes. The two songs are similar, almost like brothers. When I wrote "Money Power Glory", I was not deeply sad as many years. Sure, I earned for the first time in years, money, I had a certain aura, so somewhere also power, and certainly experienced glorious moments. But the recognition that I had wanted so much, I was denied. I enjoyed it never meant anything to be famous. For me it was always about getting respect.
The songs on "ultraviolence" are rather quiet, worn, sometimes anthemic and very atmospheric. The hip-hop elements of the first album "Born To Die" are pushed into the background.
That's right. The big headline in "Ultraviolence" was "feeling". The first album, it was due to the work with producer Emile Haynie, who is also an old, good friend of mine that some songs so got a 90s hip-hop beat. And while I was already in the studio working on "Ultraviolence", I ran into Dan Auerbach at a restaurant in New York. We went to a night club, they played "Summertime Sadness" and we started to dance together. Then we looked at so, laughed and said almost simultaneously: "Would it not very funny when we would go into the studio together?" I liked to Dan that he was so spontaneous that he just enter "Yes" said to me and my creative ideas and decisions. I flew to Nashville a week later, he invited his favorite musicians and six weeks later, the plate was ready.
You have developed despite all nostalgic retro influences a unique musical language.
Thanks, that means a lot to me when you say that. I am still so grateful to have ever reached an audience with my music. No matter what others say, I have developed my music on my own terms. I'm not a retort product that I have to clarify again.
Are you living now actually in Los Angeles?
Yes, I live with my two younger siblings and Barrie Charlie and Caroline in a cottage just outside of Los Angeles.
So you're become a West Coast girl?
Yes. I like the culture and history of the West Coast very much. In my new video, for example, playing with my Lieblingstätowierer Mark Mahoney, which is one of the great master of his trade. Marks energy and energy of skateboarding professionals who can also be seen in the video so devoted to a horny LA mixture, which I very, very abfahre.
Have you arranged with your life now between Brooklyn Indie and Hollywood superstar?
Well, that's probably my life's work. Some days I can do it playfully, to others I have something to nibble on my identity and do not know exactly where I belong. Fortunately, the good days and the bad days more less.
This is all so crazy. I was lucky to see Lana back in 2012 at Irving Plaza in NYC and no one in the crowd was crazy like that. I don't know if that's because she wasn't *as* famous as she is now but people were going crazy in a good way and pushing like normal at shows but no one was aggressive. It was actually very peaceful, aside from being incredibly hot and over crowded. I don't know why the shows seem to be getting more and more scary, It really bothers me. We go to see Lana and enjoy the experience and to have aggressive and negative people there to just ruin it is very upsetting. I hope this will stop soon
Ha, I knew it. In my draft of my track-by-track UV review I'm working on I'd written this:
"Many reviewers have interpreted this as being sarcastic like MPG & FMWUTTT, as a satire of Brooklyn hipsters... I'm not so sure. It seems a little too on the nose. I think she takes herself a little too seriously as an artist and is a little too much of a beatnik wannabe for this to be satire. I think she means it earnestly. And I think she's a little too thin-skinned for that kind of humorous self-deprecation. Besides, it's not the first time she's declared herself a 'Brooklyn baby'."
Yeah, there's an entire thread discussing this question because her statements pertaining to this have been so all over the map. Despite that, I think there's little reason to doubt she probably did write a song called "China Palace" when she was very young.
Probably next to some lame department store and a Thai food place she wasn't in the mood for.
It's done!! But don't expect a perfect worded translation...it wasn't that easy to do this as the journalist often only wrote like half sentences, used some words even I as a german native speaker didn't know and just randomly used extremely complicate formulations. The fact that I'm not that good at english made it even more difficult to find the right words. There was also a lot of senseless blahblah and I didn't feel motivated enough to translate all of these things so I left out a few sentences (but not more than about 6 or 7). The last part is only a report about her concert in San Francisco and I didn't translate this one yet because there aren't any new information, I think...maybe I'll get on it later. Done!
Again this is just my translation of a translation so bear in mind that what I wrote might differ from the actual interview.
Ok guys I'm working on that translation for hours already...it's so fucking long...But I'm doing this because you're my favorite little stans and I love you! (the fact that I'm bored anyway also plays a little role)
Though I don't know if I'll be able to finish the whole thing today, maybe you'll have to wait until tomorrow.
remember when she said she would re-release the LDR album
remember when she said ultraviolence would be out in May
remember when the LDR album was called God Bless America and Nevada
remember when Cruel World had the lines 'it's a cruel, cruel world/let the light in'
remember when she said all her song are about the same guy
There's an interview I'll try to translate it, it's the usual Lana interview but some points are really intriguing, like she talks about movies and stuff
I find it amusing that you say "Born to Die" is the only song about death in this paragraph and then discuss "Dark Paradise" (which is even more about death) in the next.
Let's review, shall we?
Born to Die - Duh, obvious. Also, she dies in the video.
Blue Jeans - Not explicit, but suggestive of a dead or incarcerated lover ("They took you away, stole you out of my life"). She drowns in the video.
Video Games - "Only worth living if somebody is loving you".
National Anthem - "Overdosing, dying". A$AP Rocky as JFK is assassinated in the video.
Dark Paradise - The whole song is about her dead lover and wishing to be reunited with him through death.
Radio - "I've been raised from the dead", "I swore I'd chase them 'til I was dead".
Carmen - "I'm dyin', I'm dyin'", French spoken part translates as "You could not live without me, I will die without you, And I will kill for you".
Million Dollar Man - Possible death reference in "Holding me tight in our final hour".
Summertime Sadness - "I know if I go I'll die happy tonight". Video is about suicide.
This Is What Makes Us Girls - "Teachers said we'd never make it out alive", "something that we'd die for".
Without You - "Your love is deadly".
And that's just BTD. I could go on all day with her other albums and unreleased material.
She was asked about So Legit before and she blatantly denied it being about Gaga and said that press just likes to make things up, but then later said that she won't sign some kind of release which allows the article to be published if that part stays in the interview because she is not comfortable with that question.
This was written recently in one of the UV critiques I think (?)
So there is probably a lot more in the actual interviews than what we get to read
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