ilovetati

72 right now on MetaCritic after the first four reviews. Can it just stay there, please? Inb4 Tiny Mix Tape and Rolling Stone trash it.

If they actually pulled that move...

It really should do well with the rock/alternative categories.

Because the music is better, but the biases and personal attacks in the reviews remain. This type of slander degrades music as an art form, IMO. This review won't go on MC either, but 5/5 from Press Play: http://pressplayok.com/review-lana-del-rey-ultraviolence/

Too bad that this doesn't go on MetaCritic. We still have the Consequence of Sound review to look forward to. I'm a bit wary of the New York Times review...the author of the interview piece would give UV a very positive review, but it could be a completely different writer.

If one of my favorite indie bands made this same album, they would have received universal acclaim. Wild Nothing's incredible album, Nocturne, contains the same lyrical and sonic repetition but the critics adored it because of its apparent coherence. Lana did everything that the critics told her to during the BTD slaughter while simultaneously remaining true to herself, and the result was beautiful. The critics just don't want to contradict their former reviews and, as a result, give her lower scores than she deserves. It is also very discouraging that BtD was two years ago and critical reviews are still comprised of personal attacks. I already know that Rolling Stone's review will be a 3/5 at best solely because of their tone in obsolete articles about Lana. They simply cannot eradicate their personal biases from musical critiques.

The embargo on reviews ends at midnight. I'm nervous!

Hits Daily Double predictions.

Gigwise gives it a 9/10.

That was a cringe-worthy personal attack disguised as an album review. They didn't even bother discussing the songs.

And the Guardian gives the first of many reviews misinterpreting the lyrics. At least it's a 4/5 that will go on MetaCritic. LDRO said Consequence of Sound face a very positive review and it seems like the New York Times will also be positive, judging from the interview. Both of their reviews are uploaded onto MC as well.

I seriously am completely in love with every single track apart from Florida Kilos. I just don't understand the inclusion of that track on an album about personal experiences and the corruption of money and power. It would make sense if the song highlighted the toxic effect of the partying, but it just feels like a summer anthem, lol. I love Harmony Korine and part of the success of Spring Breakers was his ability to portray the irony of the girls' culture's hedonism, but this song is missing that element. That said, Ultraviolence as a whole is really quite the classic and everything I had hoped for. It's incredibly ethereal, personal, and emotionally resonant. I hope it gets the acclaim that it deserves. Edit: I've re-listened to FK and I have sort of changed my mind. It does kind of feel like the protagonist is living in this narco-induced fever dream and seeing the world from irrational point-of-view. I can totally hear Korine's influence...the twisted happiness.

It really feels to me like Lana being possessive over the record executive that also worked with Gaga and became increasingly distant with the former and more attached to the latter. This song grew on me a lot with a second listen. I love the theme of the corruption of power in this album.

All were produced by Dan except: BB-Paul Epworth MPG-Greg Kurstin OM-Daniel Heath G&R-Lana, Rick, and Lee

I'm trying to decipher the perspective of the verses vs. that of the chorus.

I like the sound, but the lyrics feel too shallow and impersonal. It feels like an endorsement of cocaine and hedonism rather than a personal story or social criticism.

I loved everything but the shallow mess that is Florida Kilos. I'm a huge Korine fan as well, but what on earth?

For those who have listened, is the subject of FMYUTTT any clearer?

Can someone PM me a zip file when it becomes available? Currently freaking out at work.

Black Beauty was produced by Paul Epworth, Old Money by Daniel Heath, and MPG by Greg Kurstin. Lana produced Guns and Roses primarily by herself.

Damn it, why didn't that messy twink think of that?

Is this what we've come to?

Can anyone understand a damn word from the second Sad Girl snippet? It sounds pretty, but I could understand Miss Swan better.

Edit: Nvm.