neuf

I really dig the live version so we'll see if the studio is any different or less organic. Excited!

Like most of Lana's acapellas, I'll reserve my judgment until I hear the instrumentation...

14 is pretty short regardless. She should do an encore or something. 16 is the sweet spot. This means the West Coast gets shafted really because UV will be out by the East Coast tour hits and she'll have songs in the rotation then.

Lame setlist...seems so slowwwwwwww. Maybe the shows after Monday will be better and she'll do West Coast full. I expect the setlist to stick around the same for this initial run of shows.

This forum sometimes.

I'm sure we'll hear it live from the tour when she plays Vegas.

Yeah I know, hopefully the LA influence rubs off. Santa Monica tho...

What gets me is the west coast is not "down" anywhere... It's to the left. People say "down in the south" because it it is down... Hopefully the west coast influence permeates throughout the album. While the previous albums all mention west coast locales, the sound has been very east coast. Some of the demos definitely hint towards the other coast though so I'm all for it.

If anyone has a spare ticket or might not be able to make it, etc. for her show in San Francisco at the Rickshaw Stop, I'll buy a ticket off you. Really don't want to miss this show.

Fuck didn't realize I could click to download. Thanks!

Got those now thanks

Unreleased / BTD / AKA / Paradise / Sirens Seriously, the girl is sitting on a mountain of gold in that back catalog. BTD is cohesively beautiful, AKA has good songs but it trails off and I lose interest, Paradise has good songs but it's too much of the same stuff -- it would have benefited from a full album with some of the known outtakes (Hollywood, JFK, Starry Eyed) would have spaced things out sonically and made it easier to listen to in full. I don't think it's necessarily fair to treat Paradise as an album though. Sirens stuff I respect and I'd like to see Lana play a guitar once in a while (even if it's chords on a stratocaster), but most of that era isn't really my cup of tea.

Can anyone PM or repost from a few pages back: NMTF Instrumentals (excluding "Gone and Found" & "Freedom (#1)" Freedom (#2) They require access and I can't get through. Did I miss anything else besides the Night Version of Don't Wanna Dance? This album has definitely grown more and more, definitely my album of the Spring.

It seems a lot of bands are doing albums in the vein of Daft Punk's RAM and that whole Niles Rodgers sound this season. Let's hope Lana keeps it varied, that sound gets tiring after a while and enlisting Moroder on top of it is worrisome. I don't think Auerbach will be all about that though. I do like the snippets and it's obviously well produced, so it has made it's way down the chain of command a bit. Well whatever UV sounds like, the shows are coming up soon, so we'll hear maybe 1-3 new songs.

Trash... at least the vibe I feel is her at her sexiest chanteuse Mermaid Motel Yayo (Paradise version) Dum Dum's a little sexy too

Lana likes flutes I think and the label not so much, there's a few on the BTD demos but they all got removed.

What I find so interesting about all the speculation on UV is how it's going to sound. Lana could do an album full 60s-esque Motown, electronic/EDM-pop deal, straight indie rock, baroque pop, etc. of material and it wouldn't be too unexpected. That's what great about her. Her back catalog is so diverse and she really nails it on a lot of different genres. How great it is to have an artist with such a range. At the same time though, it's going to feel that she's boxed in regardless. Even if they try to touch upon everything from Paradise-esque Black Beauty to something EDM, it might not flow right. I expect something along the lines of Paradise in terms of Baroque Pop but it's going to be interesting in how she makes the big hitters (4-5 songs, possible singles and a bit varied in style) flow with the rest of it.

I don't think anyone was expecting that. That's just the current trend right now (like Dubstep a while ago where a lot of pop artists dabbled in it), so it's just editorial filler saying that (if it's U/V) doesn't succumb to trends. Not anything we really didn't expect, I think, though, even if it isn't U/V.

I've been a big fan for a while since "Waste of Time" debuted (last year?) then the other singles were decent and some of the other songs a bit derivative or hit-or-miss. The album is pretty good despite being propped up by older strong songs (Waste of Time, XXX, Pilgrim). Filler-esque Dummy Head is really good to me for some reason, also really like Maiden and Red in the Grey. Pretty strong throughout. I don't think Mo will breakthrough with this album but she definitely has hype and everyone has liked most of what she's put out it seems, so she's going to grow well I think. It will be interesting to see what happens outside of this style that she has put forth since and on this album. I could also see if you're not into her style, this album can get old quick. I like how her melody vocal lines carry a lot of the transitions and they are pretty bare despite her propensity to fill every other ounce of the sonic space with her voice. I'm not really a pop person but out of my pet pop singers recently, this one killed Kylie's album.

I really think it's write not ride, ride doesn't really make sense. I like this song despite it's quirkiness, I really like the instrumental decisions on the bridge especially. Anyway, even this "final" version feels a bit like a demo. If it were ever fleshed out, there would be a few things to fix/change.

I think she's out of Nashville now and back in Los Angeles.

No, it's because Lana just became commercially successful and they want to keep that momentum up. BTD came out in early '12 and while we like to boast it's still selling, it's selling late. She had initial success with Blue Jeans and Video Games then there was backlash, she looked dead in the waters for the US market until the remixes came out. She was then marketed abroad mostly where there wasn't that backlash. Now she's more successful due to the remix and Y&B. Popular opinion outside of the LB universe has started to accept her. She's not on the level of Gaga or Katy Perry or Beyonce, etc but Universal wants her to be. They see promise in her and they have to compete with the other majors and their star players. She's allowed to be creative and herself to a degree, but the label is going to axe things that they think won't sell, plain and simple. It is a business and she is a product whether or not that is pleasant to hear.

Albums back then were recorded much differently. Bands went into the studio, had a few sessions with session players, did their piece and left. Then you had the likes of Phil Spektor, etc. do all the production themselves. Bands are getting away from that because there are a few big names and they often phone it in or can be really difficult, so bands eventually end up learning production themselves. You didn't have ProTools, Logic, Cubase, etc. to deal with -- you did a few takes and even if it wasn't perfect, it stuck because the label was paying for your time. Now everything is meticulously quantized, the slightest mistake is autotuned, etc. Producers can do it all on a computer, email between people mixes and ideas, etc. Sure some (probably like Dan) are more purists, but I know for a fact that some of the producers she's worked with before are very up-to-date with the tech. A single producer is more common in rock music, not in pop music. Lana doesn't play any instruments besides singing and she does have co-songwriters many times that seem to happen in the studio. So it does appear she does write in the studio sometimes, some artists don't. Dan doesn't do mastering, that's a highly specialized area, and I'm sure it's just sent off to a masterer (there are a few big names that do tons of albums across all genres). Jon Davis will probably do it since he did both BTD and Paradise. It's not uncommon for an artist just to stick with one masterer. It's not like mastering matters much to most people anyway, but it is indeed important.

I agree with leaked_version, this was just a way to announce that Dan Auerbach is involved. Lana is probably not aware that the tabloids spotted her leaving his studio and/or just tweeting that a famous name is involved builds hype. I keep saying how this whole record is huge for Universal/Interscope and Lana is bound to be tied down by label bigwigs on a lot of things. Especially after hearing that Paradise wasn't supposed to be an EP, I think they are handling this release very carefully and trying to calculate every way it can be a commercial success right out of the gate. But I get poo-poo'ed for saying that because Lana is creative free spirit.

It's all rocky kind of stuff, while I like The Black Keys, his production track record isn't that stellar or anything. It'll be interesting to see how it all blends together with the other producers.