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Just played it through and it exceed my expectations from the sound clip we got before.  Really interesting!  I like there's a quality to it that I can't tell if Lana is kind of also making fun of the Brooklyn "lifestyle".

"He used to call me D.N., that stood for deadly nightshade"
"He used to call me poison like I was poison ivy"
 
 
Ugh, hard to believe she's 28 and making lyrics like this.  BUT...
 
 
I think the song itself is good and the stuttering bass drum is cool.  I'd like the vocal mix with the spoken word a little lower that it creates an atmosphere.  Like Carmen but a little higher in the mix.  Sometimes DA's production is little too straightforward, I think.  This album is shaping up to be interesting.

West Coast is the best choice but isn't Shades of Cool the current single?  I could see that.  Letterman is pretty progressive as far as music goes on his show for a national show, so she might have time to play it.   Artists usually now play 2-3 songs on Letterman but only one gets aired.  I think they do a series now where they do a miniset and it's released on YouTube.  That's usually reserved for select artists though.  She won't talk, Letterman nearly never interviews the music guest.
 
Ultimately, I think an SNL appearance is bound to happen.  The show is hurting and it would easily draw viewers, it would also add to her "redemption story". 

West Coast is the best choice but isn't Shades of Cool the current single?  I could see that.  Letterman is pretty progressive as far as music goes on his show for a national show, so she might have time to play it.   Artists usually now play 2-3 songs on Letterman but only one gets aired.  I think they do a series now where they do a miniset and it's released on YouTube.  That's usually reserved for select artists though.  She won't talk, Letterman nearly never interviews the music guest.
 
Ultimately, I think an SNL appearance is bound to happen.  The show is hurting and it would easily draw viewers, it would also add to her "redemption story". 

West Coast is the best choice but isn't Shades of Cool the current single?  I could see that.  Letterman is pretty progressive as far as music goes on his show for a national show, so she might have time to play it.   Artists usually now play 2-3 songs on Letterman but only one gets aired.  I think they do a series now where they do a miniset and it's released on YouTube.  That's usually reserved for select artists though.  She won't talk, Letterman nearly never interviews the music guest.
 
Ultimately, I think an SNL appearance is bound to happen.  The show is hurting and it would easily draw viewers, it would also add to her "redemption story". 

i literally stopped before he started talking about how he was gonna kill himself (heard that so many times in this fandom it makes me wanna kill myself) i couldn't suffer through that awkward mess a second time
 
what a mess
 
 
and the intro i cANT 

The last para about the label "shutting her down" if she hadn't gotten Auerbach suggests the label might have been unhappy with the original UV tracks, but the way she describes it is that she thought she was done, met Auerbach, and reconsidered the majority of the tracks. In fact West Coast wasn't even considered for the album and ended up being the lead single, which implies Auerbach saved that one. A bloggers translation of the German Interview can be found from this @@lanasgirl 's post: http://lanaboards.com/index.php?/topic/4671-lana-in-intro-magazine/&do=findComment&comment=183630   This seems like a legit demo version of West Coast, and I can sort of see LDR's point about lacking fire.
But there's also this quote from Auerbach: from the Rolling Stone piece: http://www.rollingstone.com/music/news/dan-auerbach-on-working-with-lana-del-rey-it-was-amazing-20140507   <<Auerbach admits he didn't have to do much to the songs: "Her demos were so good, her songs were so strong that I wanted to get my musicians in who I love and get my sound that I get here with her songs and that's it. I didn't want to mess it up. She sang live with a seven-piece band. That's the whole record – a seven-piece band with her singing live. It was crazy.">>>   I get the feeling that early on Auerbach considered it like a job-interview for her next album, but then it just turned into a re-rendering of what she was planning to release. So what I basically get her and Auerbach doing is using the demos as sketches and considering the finished album as a "live" type album worked up from the (more studio-like) sketches w/o the live venue. As many have suggested, I hope we see the studio/demo sketches at some point.    Yeah, the vocals are going to be differently mixed, but I don't hear them as being much better or worse than previous releases.

I think this album, like the sound (so far) -- late 60s/early 70s (with nods to the 50s a la Phil Spector), was done very old school.  Like the recent Dan Auerbach interview said, she recorded it nearly in a week or two with a session band.  This was the norm for the era she seems to draw from the most -- Dylan, Cohen, Morrison, Joplin, etc.  That's how they all did it.  If you fucked up or weren't satisfied, well tough titties.  Fix it up in production if you can otherwise, take the best comp you can.  That kind of died out with ProTools/Cubase/Ableton/Logic that everyone uses now.  It'd be interesting to hear about the recording process more.  It seems Dan Auerbach would be into analog techniques, so she might record straight to reel.  Anyway, I think we have to take that into consideration.  This style lends to the vocals being lower in the mix too.  I think the label is releasing these mixes with the vocals boosted to make it a bit more radio friendly.  I think, even if this album flops commercially (and judging so far, it won't), she will get some more respect out of people who considered her not so legit before.
 
So far so good.  She's not blowing my mind that much with the lyrics (but she's keeping with the stuff I think we all like her for and not being too dumb so far) but the music is a definite risk.  I respect that and it's hell of a lot more interesting that what similar pop stars have decided to do.  Honestly, if she couldn't get a big name like Dan Auerbach to do this kind of music, I think the label would have shut her down.  The Black Keys are one of the few big rock acts right now in a largely R&B/hip hop-dominated pop scene.

I think this album, like the sound (so far) -- late 60s/early 70s (with nods to the 50s a la Phil Spector), was done very old school.  Like the recent Dan Auerbach interview said, she recorded it nearly in a week or two with a session band.  This was the norm for the era she seems to draw from the most -- Dylan, Cohen, Morrison, Joplin, etc.  That's how they all did it.  If you fucked up or weren't satisfied, well tough titties.  Fix it up in production if you can otherwise, take the best comp you can.  That kind of died out with ProTools/Cubase/Ableton/Logic that everyone uses now.  It'd be interesting to hear about the recording process more.  It seems Dan Auerbach would be into analog techniques, so she might record straight to reel.  Anyway, I think we have to take that into consideration.  This style lends to the vocals being lower in the mix too.  I think the label is releasing these mixes with the vocals boosted to make it a bit more radio friendly.  I think, even if this album flops commercially (and judging so far, it won't), she will get some more respect out of people who considered her not so legit before.
 
So far so good.  She's not blowing my mind that much with the lyrics (but she's keeping with the stuff I think we all like her for and not being too dumb so far) but the music is a definite risk.  I respect that and it's hell of a lot more interesting that what similar pop stars have decided to do.  Honestly, if she couldn't get a big name like Dan Auerbach to do this kind of music, I think the label would have shut her down.  The Black Keys are one of the few big rock acts right now in a largely R&B/hip hop-dominated pop scene.

I doubt it

I think this album, like the sound (so far) -- late 60s/early 70s (with nods to the 50s a la Phil Spector), was done very old school.  Like the recent Dan Auerbach interview said, she recorded it nearly in a week or two with a session band.  This was the norm for the era she seems to draw from the most -- Dylan, Cohen, Morrison, Joplin, etc.  That's how they all did it.  If you fucked up or weren't satisfied, well tough titties.  Fix it up in production if you can otherwise, take the best comp you can.  That kind of died out with ProTools/Cubase/Ableton/Logic that everyone uses now.  It'd be interesting to hear about the recording process more.  It seems Dan Auerbach would be into analog techniques, so she might record straight to reel.  Anyway, I think we have to take that into consideration.  This style lends to the vocals being lower in the mix too.  I think the label is releasing these mixes with the vocals boosted to make it a bit more radio friendly.  I think, even if this album flops commercially (and judging so far, it won't), she will get some more respect out of people who considered her not so legit before.
 
So far so good.  She's not blowing my mind that much with the lyrics (but she's keeping with the stuff I think we all like her for and not being too dumb so far) but the music is a definite risk.  I respect that and it's hell of a lot more interesting that what similar pop stars have decided to do.  Honestly, if she couldn't get a big name like Dan Auerbach to do this kind of music, I think the label would have shut her down.  The Black Keys are one of the few big rock acts right now in a largely R&B/hip hop-dominated pop scene.

Not all of it, but a lot of it actually is. Summertime Sadness, National Anthem, Off to the Races, Born To Die ect. are all radio friendly. 

I like a lot of what Floppy Seal Pop said and he hit most of it on the head. That said, what little we've heard from Brooklyn Baby, it obviously doesn't touch what she' capable of.  Aside from kind of dumb lyrics, I hope she doesn't just repeat the title of the song like we've seen so far in Brooklyn Baby and Ultraviolence.  I think that's what put me off a bit about it.  I like UV though, but I've heard that in its entirety of course. 

Honestly... I think you've put WAY more thought into this than Lana ever did.   
 
I think there are a lot of intelligent people on the forum that assign too much meaning to Lana's work and give her too much credit. Liking pretty things and being subversive is basically the whole of her artistry. 

It's more than that, at least to me. Good lyrics are good lyrics, but bad/mediocre lyrics can be elevated by production / mood / delivery. I don't think lyrics are the be-all, end-all of a song, and I don't think anyone else here that has a bone to pick with them thinks that either.
 
In Trash Magic, there's this sort of whimsical, idiosyncratic production, and coupled with the nostalgic mood of the song and seductive, whisper way it is sung, the lyrics take a back seat. She could be singing about fucking donkeys for all I care and I would still fall under the song's spell... Okay, maybe that's a bit of an exaggeration, but you get my point. 
 
In Brooklyn Baby... it's just bizarre. The admittedly little we've heard has, in my opinion, horrible lyrics. The production/delivery fails to elevate the lyrics, and if anything, highlights how fucking blasé they are. "My boyfriend's in a band / He plays guitar while I sing Lou Reed" Like... what? 
 
Honestly, I think she is more than deserving of criticism considering that she considers herself a writer first and foremost ("~wanted to be a beautiful poet~") and her crappy "I KNOW RILL ART N NO 1 ELS DOES" attitude...

I always think there's multiple kinds of "sad musicians".  Lana has always been, to me, on the more impressionistic side.  She paints the scene/mood and let's the person find the sadness kind of within it.   More of a Monet than a Rembrandt.
 
I like Yayo, Gramma (Reminds me of mid-70s Dylan a bit and Lana), Black Beauty.  Even within those, there's hope or a silver lining.  It's hard to find a really personally hopeless song; she might not really have one.  That's fine though.
 
I don't know, it's hard to really differentiate between contrived and genuine and I sway towards the older stuff with determining the genuine sadness or at least genuine motivation behind it.  A lot of songs can easily be written off as "sadcore" or sad but are they really sad though?  Reminds me of the early 2000s when people called bands like Interpol or Strokes "sad" when they were more "dark" than "sad"...

Not written, just performed and recorded.

I wonder if Florida Kilos will be a manifestation of Daytona Meth/Every Man Gets His Wish/Hawaiian Tropic. She recycled that theme and general lyrics over those three times that I think she might use it somehow. I think she made Black Beauty a bonus track because it leaked, but it will also be a different version.

I posted this as a status, but I'm only a casual listener.  I heard her previous albums and they were okay.  I really like "Gunshot" but this album is exhausting to me.  It's too much of the same stuff.  Nothing is really bad on it but it's hard to listen to it fully in a sitting.  I wish she'd vary up the vocals a bit.  I think the reviews (at least the Pitchfork one) is really over-hyped.  Ian Cohen is trash as it comes to reviewers anyway,  but that's not to say it's bad.  A lot of the album feels very Scandinavian Pop and that's it.  I like that for the most part, but I don't see anything more special about it.
 
I'm trying to keep an open mind, any insight on what I might be missing?

true. 
But he did 9 tracks with ha. Either way, can't wait to hear it!!

You would have gone crazy in the 80,s albums were 9 songs long then. 

maybe producers also fuck their way to the top  

I always think there's multiple kinds of "sad musicians".  Lana has always been, to me, on the more impressionistic side.  She paints the scene/mood and let's the person find the sadness kind of within it.   More of a Monet than a Rembrandt.
 
I like Yayo, Gramma (Reminds me of mid-70s Dylan a bit and Lana), Black Beauty.  Even within those, there's hope or a silver lining.  It's hard to find a really personally hopeless song; she might not really have one.  That's fine though.
 
I don't know, it's hard to really differentiate between contrived and genuine and I sway towards the older stuff with determining the genuine sadness or at least genuine motivation behind it.  A lot of songs can easily be written off as "sadcore" or sad but are they really sad though?  Reminds me of the early 2000s when people called bands like Interpol or Strokes "sad" when they were more "dark" than "sad"...

I always think there's multiple kinds of "sad musicians".  Lana has always been, to me, on the more impressionistic side.  She paints the scene/mood and let's the person find the sadness kind of within it.   More of a Monet than a Rembrandt.
 
I like Yayo, Gramma (Reminds me of mid-70s Dylan a bit and Lana), Black Beauty.  Even within those, there's hope or a silver lining.  It's hard to find a really personally hopeless song; she might not really have one.  That's fine though.
 
I don't know, it's hard to really differentiate between contrived and genuine and I sway towards the older stuff with determining the genuine sadness or at least genuine motivation behind it.  A lot of songs can easily be written off as "sadcore" or sad but are they really sad though?  Reminds me of the early 2000s when people called bands like Interpol or Strokes "sad" when they were more "dark" than "sad"...

I always think there's multiple kinds of "sad musicians".  Lana has always been, to me, on the more impressionistic side.  She paints the scene/mood and let's the person find the sadness kind of within it.   More of a Monet than a Rembrandt.
 
I like Yayo, Gramma (Reminds me of mid-70s Dylan a bit and Lana), Black Beauty.  Even within those, there's hope or a silver lining.  It's hard to find a really personally hopeless song; she might not really have one.  That's fine though.
 
I don't know, it's hard to really differentiate between contrived and genuine and I sway towards the older stuff with determining the genuine sadness or at least genuine motivation behind it.  A lot of songs can easily be written off as "sadcore" or sad but are they really sad though?  Reminds me of the early 2000s when people called bands like Interpol or Strokes "sad" when they were more "dark" than "sad"...