necessary sacrifice

Idk if this is weird but I already feel like Yosemite is a kind of soul sister to Joni Mitchell’s Jericho. They’re both named after places and were resurrected outtakes from a few albums earlier.  Plus Yosemite has bongos, while Jericho has congas.  Now whenever I listen to Jericho, I’m like “fuck yeah Yosemite here we come.” 

8 minutes ago, Contemplating God said:

I love that she's referencing them, but I still think this is such a cringeworthy lyric. Reminds me of Tomorrow Never Came. I really hope it sounds better in the song 

I actually loved the line in Tomorrow Never Came because it seems like a cringey thing to say but it would be exactly what I’d be thinking too if I was singing with Sean 

I’ve been covering Joni

and dancing with Joan

Thinking of how autobiographical the album is supposed to be, it makes me think back to our earlier Hejira comparisons again. About that album, Joni said all her other albums could’ve been made by anybody (a lie but whatever), but Hejira could’ve only come from her. I feel like Chemtrails will be like that for Lana. 

8 hours ago, MrFameKills said:

Did anyone else use to hear "a half life in lost dreams" instead of "i have heavy heartstrings" in The Blackest Day

For some reason, I used to hear “I have heavy horse dreams” 

4 weeks til COTCC! 

I’m gonna be enjoying White Dress nonstop once it drops idc I have no self control 

Wild At Heart, Not All Who Wander Are Lost, & Dance Till We Die knowing they’re gonna be the best songs on the album

Lana needs to sing about her cats more 

3 minutes ago, Clampigirl said:

Me and my momma, we don't get along

& “I don’t have to talk taste for you, mama”

1 minute ago, Party Favor said:

once lana does blackface it's over for miss joni 

oh dear 

14 minutes ago, lanabanana11 said:

she's switched from like the glamorous hollywood sad girl music maker, to the acclaimed american singer song writer that can be placed next to like Bob Dylan, Joni Mitchell, Bruce Springsteen and fit in just fine

now

You say this as if Joni Mitchell wasn’t the glamorous Hollywood sad girl music maker before Lana came around 

So we know in Tulsa Jesus Freak she says “White Hot Forever” in the chorus, but I wonder if she says “Tulsa Jesus Freak” at all 

Chemtrails will be Lana’s best album tied with all her other albums 

(tbh my favourites probably change daily. Every album has its moment.)

Honestly the fact that Lana apparently sings in a high Cinderella voice in Not All Who Wander Are Lost makes me wonder even more if it was influenced by LOTR because that’s so elvish of her?????? 

3 minutes ago, Aphrodite said:

and no one is talking about 'not all who wander are lost' ? 

I’m so excited for it!

1 minute ago, Lentilus said:

do you have any specific Joni songs?  

I actually just made a Joni playlist for someone else on here the other day based on their fave Lana songs, which I’ll link right now.
https://open.spotify.com/user/21njlel3i7bjkgipi3snahz4y/playlist/34rwvs44aCECTMKSqruAJg?si=ufUiFZsQT1-K157G5aRT1A

There’s quite a few songs I’d recommend that are very Lana that didn’t make it onto the playlist though. But I guess it’s a good place to start. If you give me some of your fave Lana songs though, I can add more Joni songs that might be similar.

1 minute ago, Lentilus said:

....I......I don't even know who Joni Mitchell is. I only know her because Lana always talks about her. 

Then today is a good day to introduce yourself to her. Her influence has been so deeply woven into Lana’s music since the beginning, so discovering her for the first time will probably be a real treat. I’d recommend starting with the album Blue since it’s the most well-known. Hit me up if you want some more suggestions. 

Just now, GeminiLanaFan said:

Yeah, but they said Weyes delivers those notes and they sound like Joni herself. So I’m kinda at peace with that. And it’s not super surprising either, considering she shares the cover with a whole bunch of people...

Especially since if Lana did the final note herself, it’d probably be really breathy like the end of hiadtfawlmthbihi and everyone would complain about how it’s such a waste since Weyes could’ve easily done it better.

Also Weyes Blood is probably only closing the album because she could hold that final note in For Free better than Lana or Zella could. 

I was just listening to Melanie’s 1971 record Gather Me and I was thinking it kind of has the vibe I imagine Chemtrails will have. Folky with a slight country tinge and lyrics referencing astrology and roller skates and farming lol.

6 hours ago, DCooper said:

She's like a folk singer who got swooped up into the world of pop music

This. This is how I’ve always felt about Lana. It’s always been clear folk (and country) were at the heart of her music since the very beginning. When BTD came out, even with the big production, I saw Lana as more of a folk singer than a pop star, just not limited to standard acoustic “folk” instrumentals. She was just freshening it up a bit, making it hers. Even when she first got signed by 5 Points, she was primarily a “folk singer” but as she expanded her pallet artistically, AKA grew into something nowhere close to folk anymore. And I truly do believe that each change in her artistry since the very beginning was her own growth, not people pushing certain sounds or ideas on her. Just like how the folk influence has been apparent since the beginning, the pop & hip hop & rock & jazz influences, etc. she’s displayed over the years is still there too and is part of her. She’s never been solely folk, but its like she’s always blended folk with other genres into something uniquely hers. (Sorry I got carried away lol)

7 minutes ago, littleredpartydress said:

Mojos review: "Superb, Joni-tinged follow up to Norman Fucking Rockwell: 4/5"

 

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"The intoxicating strain of California anomie that pervaded 2019's Norman Fucking Rockwell is still, thankfully strong on Del Rey's excellent seventh album. Indeed, Chemtrails over the Country Club initially sounds much like a straightforward equal to that album and its hazy subversions of old Hollywood chic. there is, though, a more explicit autobiographical edge, a preoccupation with notions of authenticity and, as the album progresses, a powerful expansion of Del Rey's folkier inclinations. hence country twangs (on Wild at Heart and Nikki Lane duet Breaking up Slowly) and a tentative reorientation away from manicured lawns towards wilder terrains: Yosemite and the storied canyons of LA. Neat too how she references covering Joni Michell (and Joan Baez, Stevie Nicks and Courtney Love) on the outstanding Dance Till We Die, and then does just that, with a gorgeous version of For Free. The last voice on that track is Weyes Blood, though you would be forgiven for thinking it was Joni herself. 

 

 

AHHHHH

Damn it’s really gonna be that album isn’t it? 

I think the album will be nice 

You’re in the wind

I’m in the water