ByDayAnother

Been a fan from the beginning, and with the exception of Pawn Shop Blues, AKA has never quite clicked for me. I can love similar music, but from her, this specific set of songs doesn’t really do anything for me - wish it did, but I can’t pretend otherwise.

Thinking of seeing her in Dublin - any estimates as to ticket prices?

Whatever happens next, I would like more guitars please.

Still crying to Kintsugi 🤘🏻

Love this album. The only skips are Yosemite and DTWD - and even then their bridges are among her very best.

Good for her, but this is legitimately among her most basic melodies - not criticising the song so much as, well, the wider public’s tastes. 😂

Just what I needed to hear on this otherwise bullshit day. 🥹

TS’s release rate is… bizarre. Like it’s logistically impressive, I’d love to be in a position to create at this rate and scope. But… editing, no? Her work isn’t my thing, the odd tune. I can see albums being replaced with a steady release of songs/EP year-round, which I wouldn’t necessarily be against, in some ways it would be more manageable, if not flowful, for artists. Not that I don’t have a fondness for the album format. I can see her creating a subscription based media service dedicated to her output - she produces at the rate and production quality to justify as much. Maybe that’s the future, and hey, if it puts more money in Artist’s pockets… not that she needs it.

I legit don’t think it’s coming 😂

I’d like to read it!

You do not commit that long and hard for year as going through countless performer aliases and freelancing through dubious finances for a hobby lol

The merch is so bad. 😂

I personally hope for an all new version if we’re to get this, at least more towards the production we have in DYK.

There’s nothing to do except know that this is how the light gets in my depressed ass holding out for a shift: 🥹

🥺 poor thing, I really liked him, just seemed like a lovely guy.

As much as interpretative analysis can be fun, there is also such a thing as just letting the lyrics wash over you. Often with Lana’s recent work, the emphasis on stream of consciousness is the point - you’re hearing what can be and maybe even is without pattern. You can interpret and re-interpret and not interpret as you see fit. Not everything has to be figured out - I was annoyed by a recent reactor on YouTube who would complain at people offering essay-length explanations, saying “summarise the song I can’t spend ten minutes reading!” - but you can’t always have it both ways. You want meaning explained to you without having to work for it. If you can’t find meaning after the fact (the song), let alone a succinctly presented one, take the few minutes that the song itself takes to play as the most succinct explanation - the song is the song is the song, everything else is (fruitful or not) extrapolation.

Relatively unmoved by A&W. I dig it, but 🤷🏻‍♂️

Unmastered tracks are not demos - they are unfinished final tracks. Mastering is just the final layer of polish.

Woof.

My MSN tagline if this was 2007: 🎶 probably running away from the feelings today 🎶

The Judah Smith interlude is MUCH more legible with Dolby Atmos. It’s hit or miss with the other tracks though - A&W doesn’t hit as hard even though you can hear more little details. The Grants is much better with it. Title track is missing the piano as formerly mentioned. It’s weird. I wish you could select individual songs to turn it on and off with.

I admire the ambition of this reach 🥹

The Pitchfork review is pitch perfect, sums up my own feelings nicely.

Wish there was a more dynamic range of tempo change at some point a la BBS - I think that track spoiled me, I wanted a whole album of that, which is totally unrealistic, but I can dream!

I will say I do prefer the interlude to the song itself so I’m not too mad - I’d like CN a lot more if she didn’t keep rhyming “restless” with “restless” randomly