320kbps

inb4 "I had the whole record finished but then when I worked with Emile we scrapped it and re-recorded the entire thing"

inb4 "I had the whole record finished but then when I worked with Emile we scrapped it and re-recorded the entire thing"

inb4 "I had the whole record finished but then when I worked with Emile we scrapped it and re-recorded the entire thing"

It would've been better if you used "commercial", "generic", "trash" or whatever, but damn what a fucking hipster.

inb4 "I had the whole record finished but then when I worked with Emile we scrapped it and re-recorded the entire thing"

much hipster, very edge. pm me the screenshot of you buying an album full of Lana farts for 14.99 after I tweet ha your post. 

inb4 "I had the whole record finished but then when I worked with Emile we scrapped it and re-recorded the entire thing"

It worries me she is going to work with Emile again...they seem to close after Wait For Life 

calling authorities as we speak

This is interesting...
 
" I feel that the three records were so heavy and autobiographical. It’s been so cathartic. I like to use my previous work as a jump-off point to do something new. I’m ready to go into more of a ‘Lucy in the Sky With Diamonds’ surrealist place. That’s why I really do like what I heard about Fellini and all of the movies that were overdubbed and the actors were counting and not saying lines. I couldn’t believe that.
 
 
http://entertainment.inquirer.net/163131/lana-del-rey-i-was-very-wild

HONEYMOON POSTER

 

I wanted to do a poster for the upcoming album so I did using a very exclusive  image of Lana for L'Uomo by Francesco. Hope you like it as I do

 



 

(right click for bigger size if needed)

 

 

EDIT: Here's the original image  http://i.imgur.com/UEKEMVi.jpg

It's not so much a stutter as her saying the same thing intentionally out of synch in two different vocal harmonies. Also, I love how the second time she says "Sun reflecting in his eyes" in one harmony and "Death reflecting in his eyes" in the other.  

Anyone still want to try to tell me she's not fixated on death?  

Yes, "Bentley" is yet another example of a specific type of death that is prevalent enough in her work to be discussed as a recurring theme separate from the theme of death generally-- death by drowning, or at least the association of death and water.

@@BENTLEY
 
You drive up in a summer sky, blue bentley
Death reflect-tec-tecting in his eyes
Thought about all the women who loved me
I said, "oh no!"
He said, "get inside"
I said, "oh no!"
He said, "get inside"
I got into his summer sky, blue bentley Sun reflect-tec-tecting in my eyes Thought about all the fun I had lately I said, "Uh huh" I said "I want to drive" I said, "Uh huh I want, I want to drive" We drive, We drive You say you wanna go swimming in my ring It's green and shimmering Like my lipstick, the colour of dawn Like my lipstick, the colour of dawn We got out of his summer sky, blue bentley Death reflect-tec-tecting in the sky Held my hand to the ocean he lead me I said, "uh huh, I want, I want to die" "Uh huh, I want, I want to die."  
    WOW! I absolutely adore this. I can't stop replaying it - it has that jazz sound of hers I love. I also always adore her layered harmonies. So haunting and beautiful.

Mmm....
 
Why you make me work so hard
To put on that evening show
When you know that all I want
Is to make your money grow?
 
You're like a baby who don't got nowhere to go
I feel you eyeing me, you keep it on the low
(on the low, on the low)
 
But I can't let you in
And I can't keep you out
I wait for life to [win/mend/end?]
But it never comes around
And I can't hear you call
And I can't hear me [shout?]
I wait for it to break
But it never comes around
 
And I'm lonely
I'm lonely
I'm lonely
 
Why you make me take that shit
To put on that evening show
When you know I don't need it
Better than your booze and blow?
 
You're like a baby, don't know better, you don't know
You drag me down, you try to keep it on the low
 
But I can't let you in
And I can't keep you out
I wait for life to [win/mend/end?]
But it never comes around
And I can't hear you call
And I can't hear me [shout?]
I wait for it to break
But it never comes around
 
(Scatting)
Feel like I'm falling apart
(Scatting)
Feel like I'm falling apart

(Scatting)
Feel like I'm falling apart

 
Would you tell me?
Would you tell me?
Would you tell me?
 
But I can't let you in
And I can't keep you out
I wait for life to [win/mend/end?]
But it never comes around
And I can't hear you call
And I can't hear me [shout?]
I wait for it to break
But it never comes around
 
And I'm lonely
I'm lonely
I'm lonely

Elizabeth Grant's debut album Lana Del Ray, also known as Lana Del Ray a.k.a. Lizzy Grant, was released five years ago! The album, released by indie label 5 Points Records, was produced by Grammy winner David Kahne (Paul McCartney, Regina Spektor, Tony Bennett, etc). Lana Del Ray is a sexy, dark and moody combination between indie rock and indie pop with blues, jazz and electronica influences, making it her most diverse record. The first track, "Kill Kill", sets the mood of the whole album — a creepy, melancholic, tropical fantasy with weird lyrics such as "I'm in love with a dying man." Beginning with the indie rock thing, "Queen of the Gas Station" is an up-tempo song about wanting a simple but at the same time romantic relationship. "Oh Say Can You See" is a great proof that Lana Del Rey can sing. The super melancholic, blues-influenced ballad features one of her best vocal performances; you really can feel the pain and loneliness in her voice, especially when she cites one of Nirvana's classics, "Come As You Are". The mid-tempo electronica track "Gramma" is a lyrical masterpiece and its sound is just magical with those accordions and trip hop drums. "For K, Pt. 2" is one of Lana's sexiest songs ever. With a jazzy blues rock production and a marvelous chorus, "For K, Pt. 2" is, clearly, a highlight. "Palm trees in black and white, last thing I saw before I died" may be of the most popular lines between her fans. "Jump" feels powerful and probably cinematic because of that simple yet incredible line. The jazzy "Mermaid Motel" is Lana Del Ray's darkest, sexiest, weirdest, most mysterious and well-produced track. The lyrics are just incredibly exotic and the progressive production makes it even creepier. Truly a masterpiece. "Raise Me Up (Mississippi South)" is an amazing indie rock piece about feeling the power to "talk what you want" and "how you want". After this sonic monster, "Pawn Shop Blues"' first chords take you to a different place — a different side of the artist and the album where everything is just calm, extremely sad or melancholic and sincere, with painful lines such as "It's nice to love and be loved but I'd rather know what God knows." Along with "Mermaid Motel", "Brite Lites" is another super weird song about, probably, breaking up. The most Lolita-inspired song on Lana Del Ray, "Put Me In a Movie" features one of the loveliest melodies and vocal performances, which is just creepy since she's singing "Come on, you know you like little girls." The production is incredible, too. "Smarty" is Lana Del Ray's "Fucked My Way Up to the Top" — sexy, shady and clever, but this one is probably better. The bridge is, without a doubt, an album's highlight. The last song is the fan-favorite "Yayo", a super romantic, sad, cinematic stripped-down ballad with one of her best lyrics ever. Everything about this song is perfect; the emotion in her voice, the atmospheric production, the piano and the amazing "Hello, Heaven" part. "Yayo" defines what Lana Del Rey is — sonically, lyrically and thematically. Surely one of the best masterpieces.

 



 



 



 

What's your favorite song? Least favorite? Do you like the album?

1. MARBLE PRINCESS
2. DADDY (TROPICAL SHIRT)
3. HOW MUCH WOOD CAN MY SIS CHUCK, CHUCK
4. LITTLE RED RIDING HOE
5. HIGH AS A MOFO
6. BOTOX BLUES
7. SONICALLY, VISUALLY, THEMATICALLY
8. F U CEDRIC
9. ANGELS
10. LILITH
11. EDEN

I thought it might be useful to dedicate one thread to the early tidbits of info we are getting about Lana'a up-coming fourth studio album.

Here's what we have thus far:
 
Interview for The Fader:
I’m a big jazz aficionado. Hopefully my next foray will be into jazz. I feel like I’m getting there with songs like ‘Shades of Cool’ and ‘Cruel World’ and a cover of ‘The Other Woman’ by Nina Simone. I’m inching towards what I really love, which is kind of a Chet Baker, Nina Simone-inspired sound. It’s hard to get that sound because you need great jazz musicians. 
 
---

http://lizzydelgrant.tumblr.com/post/90085038067

Interviewer: You will record something tonight, do you know what it is, or right now?

Lana: I do, yeah I do. I have this idea for this record called "Music to Watch Boys To," so. Yeah, I'm just kind of thinking about that and what that would mean [laughs].

---

Interview for Galore Magazine:

Are you working on anything new?
Yeah, I just wrote two songs for Tim Burton and Harvey Weinstein’s film called Big Eyes and I’m working on a new record. I’m also always writing small pieces for independent films etc. Dan Heath and Rick Nowels are two of my dearest friends and producers and we are always up to something.

---

Interview for Grazia Magazine

What is your state of mind now?
I’m afraid this album will be forgotten. I’m always afraid good things will be forgotten, burried. Musically, I’m still looking for something different, with majestic choruses, beautiful orchestrations, a type of 50s vibe with a bit of soft grunge. Since march, I’ve been writing a lot of new songs, in a more conventional way -the verses, then the refrain, with a strong jazzy influence. I’m having a lot of fun with all of that. And next year, I’ll tour across the USA. I’ve been doing it only once before and I was really moved, especially in Detroit where I could feel the weight of its History. So, that’s why I decided I wanted to do it again, this time with my friend Courtney Love, for two months. My new album will come out after, maybe for late-august.
Did you writing style change for this next record?
My lyrics are very similar to me, who I truly am, but I must admit that I’m currently trying to do some new things. It’s a bit surrealist, full of colors. I feel much more inspired by people like Mark Ryden, Fellini or Picasso… Oh, I’m totally fond of this documentary: “Fellini : I’m a Born Liar”, which explains that the film-maker was in love with his hometown, and each of his movies is like one of its facets. I like his idea, the fact that truth should never impede to a beautiful lie… (she smiles)

You seem to like evoking the 50s imagery in your songs: the golden age of recording studios, ladies singing late at night with their big band…
Yeah, I love it. I love nightlife, the mood that comes from it. That’s why I wanted to meet Mark Ronson: I played him ten songs I just composed for this next album. Not so much that he added his usual signature, soul and funk, but rather it explores a sound close to the golden age of jazz. I wasn’t even born in the 50s but I feel like I was there. And when I still was living in New York, I was looking for this dream, maybe some other girls had the same, to live as a singer in a jazz club where I could sing some standards, but my own compositions too. I had a very ‘romantic’ vision of what a singer’s life should be. I daydreamed about tours in Europe, just like Chet Baker did, for example.
 
---
 
Billboard Magazine:
 
Lana Del Rey has nine songs written for her next album, titled Honeymoon -- four of which "the production is perfect; I'm looking for a few more songs to tie everything together" -- and thanks to her cinematic new song, she's also in the thick of awards season.
 
Does the Big Eyes song give us any indication of how the new album will sound?
It's very different from the last one and similar to the first two, Born to Die and Paradise. I finished my last one [Ultraviolence] in March and released it in June and I had a follow-up idea. It's growing into something I really like. I'm kind of enjoying sinking into this more noirish feel for this one. It's been good.
You're still writing everything?
I'm doing a cover of "Don't Let Me Be Misunderstood." After doing a cover of [Jessie Mae Robinson's] "The Other Woman," I like summarizing the record with a jazz song. I'm having fun with my interpretation.
I assume you're relying on the Nina Simone versions?
"Don't Let Me Be Misunderstood" and "The Other Woman" are my favorites. I'm so so much [a fan].
---
 
Mark Ronson for Triple J:
http://www.abc.net.au/triplej/media/s4174087.htm
 
Says that he rumors of his involvement with Honeymoon are an "internet thing," but says he has heard "beautiful tracks" and does not want to comment on anything before Lana does. However, he says that he has not worked on anything (yet?)
 
---
 
The Inquirer:
" I feel that the three records were so heavy and autobiographical. It’s been so cathartic. I like to use my previous work as a jump-off point to do something new. I’m ready to go into more of a ‘Lucy in the Sky With Diamonds’ surrealist place. That’s why I really do like what I heard about Fellini and all of the movies that were overdubbed and the actors were counting and not saying lines. I couldn’t believe that.
 
---
 
Inrockuptibles:
"Everybody has asked why I wanted to end Ultraviolence by a cover of The Other Woman by Nina Simone. Because she says everything, because I love jazz and may be because it could a door for what could be the next album."
 
---
 
Mark Ronson for Interview Magazine:
 
"Q-TIP: What are you doing in L.A.?
Mark RONSON: I'm going to do some recording with Lana Del Rey today and tomorrow. I found this cool old studio out here. 

Q-TIP: Are you producing? 

RONSON: I don't know. She has some songs and I said I had some demo ideas, and if they are any good, then maybe she'll like them and we'll go from there. "
 
---
 
On Instagram:

 
---
 
Video from tour saying that the record will be released in September:
https://twitter.com/LanaDeIReyDaily/status/602515526649163776
 
---
Honeymoon lyrics found in tour merch:
http://www.nme.com/news/lana-del-rey/85451?utm_source=twitter&utm_medium=social&utm_campaign=lanadelrey

He actually had "Ultraviolet EP" out before Ultraviolence was released I believe. 

Anyone else hear L.A.? 

I see your point and I think either make sense, honestly, and I'm still not sure and there's really no way to tell for sure. I'll edit the section though!
 
EDIT: I'm actually gonna go with L.A. on this.

I can fly
You had me caged up like a bird in midsummer
You saw me waiting
I was crazy on fire
Waiting to fly
I can fly
 
I had bright wishes in the summer
I was bathing in sunlight
Painting in the garden
Like a ghost in mid-July
Running fast from something
With my eyes wide like saucers
Spinning in the sun
 
I had a dream that I was fine
I wasn't crazy
I was divine
 
I can fly
You had me caged up like a bird in midsummer
You saw me waiting
I was crazy on fire
Waiting to fly
I can fly
 
Your lies were hard kisses in the summer
I was dreaming of a lake
Dreaming of the water
Where I'd rise like a Phoenix
Or an iron from the fire
I've got things to tell you
Like I know that you're a liar
 
I had a dream that I was fine
I wasn't crazy
I was divine
 
I can fly
You had me caged up like a bird in midsummer
You saw me waiting
I was crazy on fire
Waiting to fly
I can fly
 
You words cut like a knife in butter
I was fighting for my art
Fighting with my lover
 
You had me so tied up
Thinking there's no other
Yeah, right
Yeah, right
 
I can fly
You had me caged up like a bird in midsummer
You saw me waiting
I was crazy on fire
Waiting to fly
I can fly
 
 
 
She definitely has some more mature lyrics throughout this song, but still manages to incorporate some of what she's used to writing about. This and Big Eyes give off a lot of imagery and I really like it.