Poor Stacy

^^^^
 
Why you need to do 3 posts talking about the same thing when you could've made just one though?

85 from Absolute Punk (counts)

(to take a page from graham) if BTD is her Let's Dance then UV is Berlin and Honeymoon is Young Americans, and tbh it is preferable to watch your favorite artist sell out in reverse
 
 

 
Use XLD (on OS X) to convert to Apple Lossless and set the Sample Rate to 48000 Hz as this is the highest the iPod will play (if you want to save space)

leakedversion-  it always seems like you take big delight in putting Lana down. Who needs haters when you and a few others appear to be the same trolls in every comment section on the internet (maybe you are.)
 
You bathe your posts in negatives.
 
Being that Drake is probably the biggest male recording act out there, no matter who released an album, Drake would be #1. And Drake has the 2 largest openings
(though mixtapes aren't really even LPS.)
 
This day and age, people dropping albums at last minute seem to work and beats those who announce in advance. (I mentioned this a few months ago when all the Debbie downers were saying there is no info coming out.
 
Lana could have sold 5x and still been #2.
 
So congratulations as you appear to be jumping for joy with your negative posts and most will be too timid to call you on it.
 
btw, speaking of inauthentic acts, Drake comes to mind. He is a rich tv star from Canada, who has zero credibility with actual rappers, and whose name is Aubrey (a girls name at that) who took a phony name and phony
persona yet nobody mentions any of that in the press. Again, its all the haters that keep putting Lana down and seem to be oh so happy at bad news.
 
Meanwhile- Lana has a Top 20 R&B/HipHop song on Billbard, this week, the one and only white person on that chart (and now ranks with Elton John and Elvis Presley and a few others who had their songs
enter the R&B/Hip-Hop Hot 100 charts.
 
and it will be interesting to see if Lana has a #1 in the US Vinyl album, and a #1 Album sales album  (as Drake is not a physical issue, he should not qualify for that.
 
And spent a full 7 days at #1 on I-tunes with the pre-sale and after sale. So forever, Honeymoon has #1's across the board.
 
but keep partying in negativity.
 
I try to be positive. But sometimes, one has to remark on the bullying and hatred one sees of Lana on the internet. Shame that it is right here on the Lana boards.
 
meanwhile Ryan Adams is copying Taylor Swift who is copying Lana.
The irony is drippingly delicious ain't it. (And Ryan's versions are better than Taylor's. How cool is that.

You weird fags thinking lana gives a shit about your flop Tumblr dissertations & being politically correct has me cracking up.
 
She doesn't give a fuck. So shut up. Ghetto.

Yeah, I think that's actually a really positive review.

Yeah, I think that's actually a really positive review.

I freakin love Don't Let Me Be Misunderstood! 

Lana Del Rey looks out into the world and all she sees are stares. Cold faces, eyes hard with judgment. And lights, too — sharp beams that poke like needles and cut like lasers. For years, she has been scrutinized as intently as she’s been listened to. You would not blame her even a bit for wilting.
Instead, she has hardened, ossified into a thing of refined cool. The more famous Ms. Del Rey has grown, the more obscure she’s become. What was once something of an elaborate performance has become merely a simple mode of being.
 
Now, she meets the glares and the harsh lights with … nothing. Total blankness. The way that celebrities stand still on the red carpet and fix their eyes on some far-off point while a violent scrum of photographers fire flash bombs and shout their names, resulting in picture after picture of sturdy serenity, that’s Ms. Del Rey’s everyday. There’s no moment she’s not above the fray.
  Because of this, “Honeymoon” (Interscope), her third major-label album, achieves a sublimity missing from her first two. She’s been angry, and then bored of being angry, but now she’s just bored, and her boredom is entrancing.
 
There’s that taffy voice, resignedly oozing all over the place — rarely does Ms. Del Rey check in at something more intense than a yawn. She’s not an ornate singer, but she achieves a great deal with only the many shades of exhaustion.
 
On “Salvatore,” when she ooohs about “soft ice cream,” she’s a billowy cloud. On “Music to Watch Boys To,” she sighs, “I like you a lot,” but her voice is multitracked, as if arguing with herself whether it’s even worth the bother.
 
And in several places, she refers to the blues — the music, but also the color, and the mood. “Got my blue nail polish on/It’s my favorite color and my favorite tone of song,” she sings on “The Blackest Day.” On the title track, she merely exhales: “Dah-ah-ah-ah-ark bluuuuuuuuue.” Her blue is the ocean, and it’s clear sky, and it’s also blood.
 
For much of “Honeymoon,” she dwells on relationships so toxic they’ve turned her into an emotional refusenik. On “Terrence Loves You,” she sings, “I lost myself when I lost you/And I still get trashed, darling/When I hear your tunes,” and on “High by the Beach,” she moans, “We won’t survive/We’re sinking into the sand.”
 
“Religion,” a love song that would seem to demand preachy fervor, is instead delivered with a shrug:
Ms. Del Rey’s weakness remains her narrow field of vision. And her apathy does tend towards lethargy — individual songs seep long past their most pungent moments, and her unwavering vocal approach can induce somnolence.
 
’Cause you’re my religion, you’re how I’m living
When all my friends say I should take some space
Well, I can’t envision that for a minute
When I’m down on my knees, you’re how I pray
 
Apart from the album-closing cover of “Don’t Let Me Be Misunderstood” and the T.S. Eliot poem Ms. Del Rey reads during an interlude, all the songs were written by her with Rick Nowels (Lykke Li, Belinda Carlisle), and the album was produced by them along with Kieron Menzies.
 
Together, they have arrived at a solution to a problem that bedeviled Ms. Del Rey on her first two albums, “Born to Die” from 2012, and “Ultraviolence” from last year. On “Born to Die” especially, she was thwarted by the ambitions of her producers. Ms. Del Rey was still unsteady as a character, and the gorgeous, lush production often highlighted how fragmented she was.
 
Now she is steady, and resolute too. And so the music stays out of the way, ranging from melancholy to aspirated but never overwhelming, whether it’s the ethereal desert vibes of “God Knows I’ve Tried,” or the piano dirge “Terrence Loves You,” or the exceptional “High by the Beach,” which is like an ASAP Rocky song dubbed onto a fuzzy cassette.
 
Ms. Del Rey sounds lonely here, and fine with that. Perhaps “Honeymoon” is the first great prison album of the 21st century, her jail being celebrity and the scrutiny that comes with it. This album’s opening couplet is a hilarious troll: “We both know that it’s not fashionable to love me/But you don’t go, ‘cause truly there’s nobody for you but me.” And her cover of “Don’t Let Me Be Misunderstood” feels wholly earned — brittle and distant, a sad-sack meditation on inevitable disappointment.
 
Her acceptance of her absurd condition is there, vividly, in the incisive “Freak,” about life and love under the magnifying glass, which has a woozily seductive chorus:
 
In the video for “High by the Beach,” Ms. Del Rey lolls about in a glorious house on the Pacific until she’s interrupted by a helicopter with a paparazzo inside. She skips down to the beach, grabs a rocket launcher hidden in the rocks, and blasts the copter out of the sky, then resumes her blithe bliss.
 
Baby, if you wanna leave
Come to California
Be a freak like me, too
Screw your anonymity
Loving me is all you need to feel
Like I do
And so after four years in the limelight, here lounges Ms. Del Rey, immune to the gravitational pull of the discourse about her. Once a careful invention, she is now glassy-eyed and glassy-voiced, too cool to care. The result is something like a dog that, when its leash is tugged, simply lies on the ground and shuts its eyes: basking in the sun, feeding off its warmth, never giving an inch.
 
http://www.nytimes.com/2015/09/18/arts/music/review-lana-del-rey-honeymoon.html?_r=0

It will go #1.

Yeah, I think that's actually a really positive review.

Yeah, I think that's actually a really positive review.

Honeymoon did the unthinkable and topped UV for me but not necessarily because of purely musical reasons, it's because it's dark but it's happy, and it's reclaimed which is the EXACT state I am in right now. I wish I had discovered UV earlier because this record is an absolute jewel especially in its indulgence in self-awareness of the sadness, it's a blunt word but I can't find another one, melancholia maybe. Honeymoon, when I actually really dislike this name in itself compared to the spectacular ultraviolence term, is the incredible and extremely cohesive follow-up to this sadness. It reminds me of earlier this year when I got back into severe depression and I can pinpoint the exact moment I turned back and got up. Honeymoon feels like this. It feels like acknowledging the melancholia, but instead of easily being overwhelmed by it, reclaiming it and controlling it. I don't want to say that I prefer Honeymoon just because it's just out and I love theoretically everything Lana does. I've never related that much to any artist ever and I feel a real connection to the way she approaches her work and mine. I apologize, I don't want to sound pretentious, I am just completely astonished to find myself in front of a work that is the exact depiction of the path my mind took this past year, exactly in the same time than the UV and Honeymoon eras. Whereas in UV there are songs that I basically ignore, in Honeymoon, I find myself respecting the songs that I find to be less spectacular because of how obvious it is that this piece of work is seamless solid and cohesive and makes sense as a whole, in maybe a much less raw and raspy way than UV, but in a polished assurance, and full of extreme and pure emotion. 
 
tl;dr: Honeymoon is the best album ever made in my humble opinion, but not necessarily musically.

My issue with GnR is that the first part of the verse is amazing, really excellent and then it all goes down in a split second after the 0:26 mark 

I'm not sure if this is an unpopular opinion but it's my opinion so I'm just gonna post it here.
 
The first time I heard HBTB I really hated it. It was one of the biggest let-downs I've ever experienced. But now, almost a month later, I think it's one of her best songs (not THE best, but I think it's up there).

Ciao Amore, soft ice cream
 

I'm so so so in love with Salvatore! I really wanted this song to be beautiful because that name is beautiful (IMO) and I was just taken away with it as soon as I heard the song even in LQ! It's so romantic and dreamy!
I don't even know what this song will do to me in HQ when the album is out!

Omfg!!!! Thank you!!!! I KNEW it reminded me of something and I actually had this song in mind for a while the other day and I couldn't for the life of me put a name on it thank you so much

synths are heaven i hope the album is dripping with them. i want to feel that opulence and beauty xxxxx

I hear the sinister in Honeymoon too, though. It's all in the strings!

MTWBT > Honeymoon > Terrence > High by the Beach

I hate all you Honeymoon haters. That song is DIVINE.

I hear the sinister in Honeymoon too, though. It's all in the strings!

MTWBT > Honeymoon > Terrence > High by the Beach

I hate all you Honeymoon haters. That song is DIVINE.

I hear the sinister in Honeymoon too, though. It's all in the strings!

MTWBT > Honeymoon > Terrence > High by the Beach

I hate all you Honeymoon haters. That song is DIVINE.