Jared

You can't receive a warning point for factual statement. I only got a warning point for using red text which is reserved for mods. Anyhow, I can't escape this feeling that some members here are auditioning for Alex Jones show. The increasingly bizzare conspiracy theories as to why NFR is getting all the attention and acclaim kinda amuse me.

Magnum opus, an instant classic masterpiece, highly revered by both the public and critics.

Just hours after finding out she received two GRAMMY nominations, Lana Del Rey joined the Nashville GRAMMY U Chapter for an intimate performance and discussion. Fresh off a show the night before at Nashville's Municipal Auditorium, Del Rey played stripped-down versions of "Norman F*****g Rockwell" and "Bartender," both off her GRAMMY-nominated sixth studio album, and invited Nashville native and friend, Nikki Lane, to perform Lane's "Look Away" with her. Touching on topics ranging from the #MeToo movement to genre-crossing, Del Rey spent much of the conversation chatting about her recent album, Norman F*****g Rockwell! (up for Album Of The Year), which actually got its start at the Clive Davis Pre GRAMMY Gala. Del Rey shared with the students that she first ran into Jack Antonoff (who produced much of the album) at the party and began working with him right after. When asked what songs on the album stand out for her, she said "Norman F*****g Rockwell," nominated for Song Of The Year, was melodically one of her favorites and had enough humor to balance out the album. She also cited the very personal album closer "hope is a dangerous thing for a woman like me to have – but I have it." As the discussion moved towards the business side of the industry, Del Rey shared that she read "All You Need To Know About the Music Business" by Donald S. Passman when she was starting out and found tips – such as not combining your publishing with your record deal – very helpful. (She put this tip into practice when signing her first record deal.) When asked what advice she would give a room full of students entering the music business, Del Rey noted how important it is to find mentors wherever you can. In her case, some of her best mentors have been people outside the music industry who genuinely wanted to offer her advice without a dog in the race. As the conversation ended, Del Rey took the time to speak with students individually about their current classes and music industry goals. It was clear from the students' reactions that Del Rey provided them with invaluable guidance about the industry. The Nashville GRAMMY U Chapter could not have been more excited to share such a special day with her. https://www.grammy.com/membership/news/lana-del-rey-offers-music-industry-advice-grammy-u-students-nashville

Oh for fuck's sake, someone please take her goddamn phone away. She can't be parading around with her cop boyfriend from Oklahoma right in the middle of awards season.

Antonoff: At this point, Lana and I have done quite a few songs together, and [“Norman Fucking Rockwell” has] always been my favorite. Because when we got together and started dreaming about the future, that song is the closest thing that sounds like what was in our heads together. It’s a Cliffs Notes for the whole album. That album was made in one specific room, with one specific piano, a very specific 12-string guitar, very specific drum kit, very specific patch on the Mellotron that went through a very specific tape echo. We landed on a couple sounds that really sounded like this thing we had thought of, and then we put a helmet on all of them: Nobody touch this drum kit. Nobody move the mic from the piano. The way that piano moves is really loose but doesn’t lose you. That tempo shift going into the chorus I really love, because that was the moment that really didn’t work until it did. The flugelhorn, the strings, her vocal at the end—it sounded like the heavens opening up. Every note, every word, brings me right back to the moment in California when we were doing it. You go in, do the things that feel great, and not think about what anything sounded like. What ended up happening was this bizarre folk album. Kornhaber: At one point in the song, there’s a feeling like something almost falls on the piano. Antonoff: There’s a banging on the piano in the low register, and that’s going through this special tape echo. The whole ethos: If this is the part where we need to put an 808 or a smashing sound, let’s go into the room and bang on the wall. Let’s hit the piano. Let’s make it all, right here. Kornhaber: How did you react to Lana’s lyrics? Antonoff: Gorgeous. There’s a lot of room to be very classic with some of the production, because she’s saying things that whip it back into modern time. Right away: “Goddamn, man-child / You fucked me so good, I almost said I loved you.” She’s right here, right now. Kornhaber: Do you have anything to say about Lana’s relationship with the vocal processing and reverb? Antonoff: She has, I call them, bat ears. She hears things that disgust her, and she hears things that thrill her. She’s extremely clear on how she wants her vocals to sound. When it comes to reverb, and what’s dry and what’s going to be ethereal, we played with what the lyrics were doing. Does this lyric feel like someone’s talking directly to you, or does it feel like the voice of God? https://www.theatlantic.com/entertainment/archive/2019/12/jack-antonoff-taylor-swift-lana-del-rey-and-more/603517/

1 hour and 45 minutes long NFR documentary with legendary producer and genius Jack Antonoff? NFR stans just can't stop winning.

I'm just pointing out the facts. It was literally reported earlier this year that Universal and Interscope put Lana's album on hold for that child. We've come to the point where the Industry and other artists are more aware of Lana's worth as an artist than her own label. And that's the reality. That's why I'm saying: stop selling yourself short!

Billie Eilish has one of the most extravagant Grammy campaigns of modern times. More budget went to her few months long campaign than it did to Lana during the course of her 8 years long career. That brat even has a movie coming that cost more than 1 million to make. At this point, I wouldn't be surprised if she started jumping out of pizza boxes. Lana needs to leave that label.

An even more stripped down, mature, singer-songwriter sequel, with just Lana and Jack on piano. Think of listening to haunting masterpiece that is Hope Is A Dangerous Thing For A Woman Like Me To Have-But I Have It but 12 or 14 times in a row. She did kinda try to recreate some of the Born To Die with Lust For Life and make it to be ''an album for fans'' and that didn't go really well.

Inclusion of sales automatically makes that Discogs list irrelevant and not worth discussing. Quality and sales don't go together. Sorry, I don't make the rules.

Why are we still discussing that irrelevant Discogs user list that has multiple Adele, Coldplay and Ed Sheeran albums on it? And btw. only one album from 2019 (Billie Eilish) has made it onto that trash list. Nobody cares.

The Grammys are 85% popularity/bribery/campaigning contest, 10% being in the right place at the right time (luck), and 5% art/quality music. Lana is not winning and it shouldn't matter. Two big noms and a performance should be enough to put her in good graces with the label and allow her to record new album in peace. Anyhow, Slant becomes 12th publication to name NFR as the best album of 2019. https://www.slantmagazine.com/features/the-25-best-albums-of-2019/5/

Lana needs to move fast and leverage her newfound industry clout for more budget and artistic freedom. She's now at the point in her career where she shouldn't argue with the Interscope about trivial stuff such as singles, covers, tracklist, and where her album release shouldn't be put on hold for some teenage brat. If she plans to stay with the Interscope, the least she can do is stop selling herself short. It also wouldn't be a bad idea if she fired her current manager.

That's user list based on sales and what not. It doesn't count. Honeymoon and Lust For Life still haven't made it onto any publication's decade-end list.

Seems very credible.

Lana could never match or surpass Fiona, but she could become a more mainstream version of her, which would still be pretty amazing. The seeds have already been planted with NFR. Let's hope we start reaping the results as soon as the next album .

A reminder that during an appearance on radio show earlier this year, Lana herself said that she's very inspired and that she has started writing outside of the studio and at home for the first time in 4 years. Now, I don't won't to attribute all credit to Jack, but I'm pretty sure he has played a role in it. He tends to have that kind of effect on people.

Lana being trashed and slammed for 7 years and critics treating the rest of her discography like shit is a false talking point and it won't become true no matter how many times certain individual repeats it. In reality, Lana has been fairly acclaimed artist since 2014 and Ultraviolence NFR is well-received by both the critics and the public and this is the only place on the internet where you can find such negativity directed towards it (they don't make fun of this site for no reason). Certain individual is just upset that his favorite albums didn't get NFR's accolades. As for Lana being hailed as one of America's greatest living songwriters, that's not random at all considering there are couple of tracks here that literally sound like they could've been on some of the earlier Fiona albums. Anyhow, back to Lana's discography being trashed and slammed until NFR.

I kinda find it hilarious how NFR sounds so expensive, refined and sophisticated despite being the least (most casually) produced album of Lana's career. Just goes to show money can't buy style and class. Having Jack Antonoff as your producer also helps.

I've come to the realization that Hope Is A Dangerous Thing For A Woman Like Me To Have-But I Have It is the best song on the album (and possibly the best song of Lana's career but I'll need more time with it to be able to conclude that). The title track comes in second. I still haven't figured out the third place, but it's between Venice Bitch, How To Disappear & The Greatest.

I can tell you have a very high IQ and great taste just from reading this post.

The title track is the best and most epic album opener of all time.

If you're referring to Pitchfork's list I posted on the previous page, that #1 was for the album, not the title track. When it comes to songs, publications have picked The Greatest and Hope Is A Dangerous Thing as their favorites.

So far, so good.

Pitchfork's 50 best albums of 2019: Pitchfork's 100 best songs of 2019: