Greaser Prince

Ok, I could easily be posting this because I'm thirsting for more news (duh), but if it's true that the artwork is completed, then could this possibly part of the shoot?
 

 
It's probably been discussed before (if it has, I missed it) but it doesn't look like a Galore outtake to me - which is what people said it was.

http://www.billboard.com/articles/news/6429534/lana-del-rey-big-eyes-honeymoon-album-interview
 
New album is titled Honeymoon and is "similar in style to Born to Die and Paradise". Lana covers the song "Don't Let Me Be Misunderstood" on it. The album is more "noirish" than Ultraviolence. Nine songs have been written for the album, four of which "the production is perfect; I'm looking for a few more songs to tie together".
"I Can Fly" was adapted for Big Eyes - she had originally written (and made?) a version of it, but then changed the lyrics to match Margaret Keane's story.

Knowing Lana, it's gonna be a really depressing album like "u killed me on my honey moon/u took the honey out my moon/now im all alone on our honey moon"

From Billboard interview: "It's very different from the last one and similar to the first two, Born to Die and Paradise."
 
New album is called Honeymoon ;D
 
http://www.billboard.com/articles/news/6429534/lana-del-rey-big-eyes-honeymoon-album-interview

Nor should listening to -- and liking -- a song about that be considered gay.  (Says one of the 27 other loyal straight male fans.)

Agreed...with a bit of a soft rock tinge. As I said before, I'm thinking Dusty Springfield meets Nina Simone meets Stevie Nicks. Lana loves genre clusterfucks....her versatility is awesome.

I could imagine the song doesn't feature the song title at all (Old Money) , or at least not as a chorus (Blue Jeans)
 
Oh, I think with the ambition she shows, this time she WILL give us a really fitting look. However, maybe we already see it now. Like, she seems to quite over the UV era, so maybe the latest shoots could imply the look (and by this sound).
 
 
This look , or the Galore-Magazine look don't seem quite UV-ish for me. And they would fit the topic.
 
I'd love to see her going for the style of Emma Peel, like fance and colourful but yet somehow "exotic" clothing completet with the wonderful hairstyle ...
(The internet only gives me pictures of Peel in jumpsuits or boring clothes, but i know that through the series, she displayed a lot of wonderful outfits, especially during the "The Avengers Colour" time)
 


 
 
And I hope for glamour-y photoshoots like during the BtD era.
 
 
 
OH GOD YEAH I WOULD LOVE THIS SOUND!

Music To Watch Boys To just gives me a vision of smoking cigarettes and sucking on lollipops while in the front seat of an El Camino with your Mexican homegirl
watching the boys play basketball lmao

Yes, please.
 
I'm tired of this basic bitch causal white t shirt..jeans image. 
 
One of the reasons, she underperformed tbh this era. This imagery, videos are just not strong enough to gain new interest from the gp.
 
Everything is so bland. 

all this over lana changing her insta pic
@@comeintomybedroom obviously miss understood and it's nothing to get worked up about. Moving on...

Idk if anyone else would consider this "news" or interesting at all really but omg could this mean Lana is finally embracing her Lana Del Ray persona?!
 

 
inb4 people reaching @ this pointing to an AKA re-release.

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?

Reevaluate your priorities, please! 

This is amazing. and jazzy.   and Doo Woppy.
 
I've always wanted her to go back to the Driving Cars With Boys/You Can Be The Boss/ Kinda Outta Luck sound again.

all i know is that there *needs* to be some upbeat songs on the next album. we know that lana does them exceptionally well & in a style that's all her own. sometimes i listen to her unreleased songs & mourn for the hits that could have been. 

TV in Black & White? Really? Her best produced song?

She seems really confident and content in this interview. I'm picking up some very happy vibes which is lovely too. I'm also really excited we are getting "Music To watch Boys To" as a track at least. The concept of the track sounds very interesting too -"Definitely. I can see it and I can hear it. I'm working on a new record now, and I have this one song, "Music to Watch Boys To." The title lends itself to a visual of shadows of men passing by, this girl's eyes, her face. I can definitely see things."          

I hope the new record will be full of Off To The Races, Florida Kilos and You Can Be The Boss-es

Q&A Lana Del Rey talks about her Globe-nominated 'Big Eyes' title track
Lana Del Rey Lana Del Rey says she's long been a fan of Tim Burton, who directed "Big Eyes." (Neil Krug / Interscope) By LORRAINE ALI contact the reporter Entertainment Music Tim Burton Golden Globe Awards The Godfather (movie) Academy Awards American Beauty (movie) Lana Del Rey likes noir tones, and working with Tim Burton on “Big Eyes” was a perfectly dark matc 'When writing music, my favorite place to travel is in my imagination,' says Globe nominee Lana Del Rey Spooky midcentury paintings of big-eyed children and the equally twisted tale of the artist behind them are at the center of Tim Burton's new film, "Big Eyes." The true yet surreal story of painter Margaret Keane also resonates throughout the film's evocative title track by singer Lana Del Rey. The haunting song, "Big Eyes," now nominated for a Golden Globe, is a natural fit for Del Rey, a chart-topping pop artist who is often noted for her cinematic style. Case in point: Her last album, "Ultraviolence," is named after "A Clockwork Orange" reference and her contributions to other soundtracks, such as "Maleficent" and "The Great Gatsby," feel more like extensions of Del Rey's own work than side projects. The 29-year-old East Coast native (real name Elizabeth Woolridge Grant) spoke about working with Burton, her love of the surreal and what it's like to think in pictures.   In film as with your own records, your aesthetic is so beautifully melancholy. Is making music a sad endeavor for you?   [Laughs.] No, I really enjoy it. Making a record — it's where all the fun is. When I'm done, it's like, oh, God. I kind of go into mourning.     Wow. I would have never expected you to use the adjective "fun" when describing the process.   Sad is happy to me. I love it. When I write something bittersweet, I smile. That's why I like Tim Burton. His world has that kind of foundation too.   So you're a Burton fan?   I am a huge fan. I love "Edward Scissorhands." But it was Harvey Weinstein who wanted me to work on this. He asked six month ago if I would do a title track, then during editing he wanted one more song for the end. That ended up being "I Can Fly."   Your sound is so noirish and visual. Is the process similar when making your own music as opposed to a film track?   When writing music, my favorite place to travel is in my imagination, so having a movie like this makes it easy to go there. I can imagine another layer, what happened to Margaret [Keane, the artist played by Amy Adams], how excited she was in the beginning, how she thought she found a father for her daughter. And it turned out to be a nightmare. It's a great story to build a song around.   Right. A compelling film score should not just be echoing what you see in a film; it should, in fact, add another layer.   Tim Burton's 'Big Eyes' feels too paint-by-numbers Tim Burton's 'Big Eyes' feels too paint-by-numbers For me, the melody should also tells its own story. Whether it's minor or major, whether you choose to use a violin or a flute. In "The Godfather," so many of those little cues were just a horn or a violin. Think about the mood of the film … there was a reason why the music was so solitary.   Now your title track has a Globe nomination, competing with contemporaries like John Legend and Lorde.   I grew up watch the Oscars and Golden Globes, but I don't really remember the best song category having a lot of contemporary artists in it. But maybe it's just me because I'm more about scores.   What are some favorites?   Thomas Newman's score for "American Beauty." I remember the first time I saw the film, the score is the first thing you hear. I loved it. Or the cues that Nino Rota did for "The Godfather" or Giorgio Moroder for "Cat People." I loved writing for movies because I love anything that makes you dream. I still watch movies to dream.   Daniel Heath produced and co-wrote "Big Eyes" with you. He's been a longtime collaborator.   Yes! [Laughs.] Dan was my first boyfriend's best friend. Back then he was doing cues for reality television — the shows were terrible, but his work was beautiful. I said, "You've got to work with me on real records. The songwriting is simple: intro, verse one, a chorus, which repeats three times. The bridge is separate from everything else." That was all he needed to hear to start sending me amazing compositions. He did the title track for "Ultraviolence" for me. He adds a lot of cinema to my sound.

Should I use my psychic powers for good or evil?

I really hope that her choruses are more inspired than the last ones she has offered. I love UV, I had this strange love-hate-don't care-love relationship with it, but I hope the next record has great bridges and choruses. If Big Eyes and I Can Fly is any indication for "majestetic" choruses , then I am not here for it, cause these choruses are basic as fuck

doubt it, but there is plenty of time til the tour starts. she has time to record new material. if she already has ten written songs, that is already enough for an alberm.

Tracklist for Endless Summer:

1) It's Coming You Little Bitch
2) Dirty Mouth
3) Azealia
4) I Don't Wanna Die
5) 27 Club
6) Courtney Says
7) Maha Maha
8) Kill The Guardian