West Coast

I honestly feel like Lana just settles for whatever these days. I'll give props to Jack for having this new approach with Lana on this record, but I wouldn't say it was a change for the best as opposed to formulas she has tried in the past on other records. NFR was far from boundary pushing for Lana in my honest opinion. Also, I've said it on a previous post, but while I don't think every single song needs a bridge, but sometimes the bridge adds something interesting, or an element of surprise to a song. I wouldn't say I was bothered by the lack of bridge on NFR, we already knew that they are not Jack's forte, it's obvious that it's a Rick Nowels thing, I was more bothered by other elements on the record.

at this particular point I'm not sure she can come through with this type of quality, but let's just hope

bring back Daddy Nowels and Dan Auerbach too while you're at it Lanz

Lemons aren't what they used to be, man.

"Violet Bent Backwards Over The Grass" and this bitch puts up oranges on the cover art. That's unmistakably Lana. Also I need to give my good sis Chuck a shout out, she came through again with the subpar/amateur editing skills. Werk, honey.

shocked and upset

this is as phony as a three dollar bill

I can't help it

Wrong thread, but honestly on songs like 'West Coast' and 'Shades of Cool' there was no need for bridges as their strength lies elsewhere. 'West Coast' has the tempo shifts to make the song stand out and the overall production is just mesmerizing and hypnotic. Also, 'Shades of Cool' has that epic guitar solo and the concealed lyrics within said guitar solo. Agree that these songs don't have the strongest choruses though I think it was smart of Lana to use anaphoras in lieu of complex choruses, really put the emphasis on the idea she was trying to convey on these songs in my opinion, especially on 'Ultraviolence', 'Sad Girl' and 'Pretty When You Cry'. Also like I said prior these songs had other strengths, in that case that would be their bridges. Quintessential Lana. However I would like to remove 'Brooklyn Baby' from this narrative, because I do not find a single flaw on this song. The instrumentation is amazing, the lyrics are just a big fuck you to her critics (at the time). From a lyrical standpoint it's probably my favourite Lana song. Also, I find the chorus to be strong and the bridge to be equally strong and beautiful.

It does kinda bothers in the sense that it felt very uninventive to just trade bridges for these unnecessary musical outros, like on 'Cinnamon Girl', 'The greatest' and the godawful 'How to disappear'. Honestly the only time where I felt it wasn't so bad was on 'Fuck it I luh yah'. I'll give credit where credit it due, I think they tried a very different formula, and bridges are definitely Rick Nowels' forte, not Jack's. Not saying every song needs a bridge, but it definitely adds an element of surprise in my opinion.

damn fucking right, Jack is a shit producer, I guess he's good for the basic pop girlies, but Lana ain't about that. She sounded lost in her own laziness on NFR, it's such an average, generic and beige album it's painful (and the production/mastering is complete and utter shit). No wonder why so many people and critics alike like it so damn much, it's her most basic effort thus far.

I legit just received my Switch Lite, Link's Awakening and Animal Crossing in the mail today. I won't see the light of day for quite some time now.

because it's an overlong track that doesn't do much to a lot of people, it's legit getting praised for being "advanced" lyrically, but the truth is it's just a repetitive 6 minutes long song with Lana using a bunch of random "refined" words, should've been relegated to B-Sides/unreleased in my honest opinion.

Ride sweetie, I'm so sorry

I put that in the same category as other NFR lyrics. "I was reading Slim Aarons and I got to think that I thoughhht", "We go fast, we go so fast, we don't move" and the forever cringy "Singing for my babies on the tourlyfe" I really don't understand how people revere NFR as the more mature album lyrics wise, it's so cheesy and corny at times. Bleh.

someone lied to her several times

Lana has been settling for generic the past two years, this handbound "poetry" book turned spoken words album is just the latest nonsensical thing we can add to the list. I cannot with this woman sometimes.

@@RormanNockwell see, this is exactly what I was telling you yesterday

and it's getting tiresome *ba dum tss*

Disagree, while I like and appreciate 'Venice Bitch' to me it's just a cute and relaxing song. The long and hazy instrumental outro/interlude it just beefs up what is a pretty simple/"weak" song to start with. On the other hand, 'Off To The Races' is a pop masterpiece, I live for the way Lana performed the song in 2015-16! Also, 'West Coast' has got to be one of the most unique, seductive, mesmerizing and intoxicating song in Lana's repertoire (and also of the most interesting song I have ever heard, I'm still shook and it's been almost seven years). 'West Coast' is that song (and to a certain extent 'Ultraviolence' is that album). I don't know the type of sound she plans on going for the next record, but if it's anything like what she's done on 'NFR!', I mean the very simplistic/bland approach, I do not expect Lana to outdo what she's already done on her first three records in terms of sonic complexity.

Dan Auerbach! Dan Auerbach! Dan Auerbach!

Tomorrow is April 1st

'Venice Bitch' would've legit been the perfect album closer, the long hazy musical outro and the album finishing with "If you weren't mine, I'd be jealous of your love" fading away. But, several choices were made on this album.

It's ok, we all make mistakes. You are just securing a fourth Worst Taste award I guess. All jokes aside, I actually like a very few select songs to a certain extent on the album. But as a whole, the album doesn't strike me as being cohesive sonically, it's too all over the place and unequal for me and it's nowhere near the level of excellence of both 'Ultraviolence' and 'Honeymoon', it's my second to last favourite album of hers (even 'Lust for Life' had qualities I must say). However, I will never get onboard with Jack's style of production on this album. Knowing she's still working with him (or actually never really stopped working with him would be more accurate) is definitely a let down. Musically, Jack didn't bring anything remotely interesting or refreshing for the so called Lana sound. 'NFR!', to me and to a lot of fans I've been in contact with on here and beyond the realm of LanaBoards, it remains a poorly produced and mastered folky/pseudo-alternative/prog-rock overrated album. I'm a hardcore Lana stan, unlike other fans who went from stan to fan to less than a fan over this album. I revere the direction and risks she took on her first three records, but on 'NFR!' Lana settled in her lazy ways and served us a very lackluster/lukewarm meal. Jack being the yes man he is just went along to get along I supposed (I'm still haunted by the sneak peak of him talking about the disappointing production of the album and frantically bopping his head to the cheap drums in 'The greatest' or whatever (?)). So I actually have little to no expectations for 'White Hot Forever'/LDR7 really. I'm open to anything really, but the only things I would actually want to hear on this upcoming opus are less corny/"eDgY" lyrics and overall better production. But I feel like with Jack being apart of this project and "2020 Lana" being a thing, that seems like a lot, if not too much to ask. Glad it grew on you though sis.

That ain't happening with Jackoff onboard. Dan Auerbach needs to make his glorious come back, but at this point it seems farfetched. I guess we'll have to suffer through yet another haflbaked/bland album. In the mean time everyone enjoy this timeless masterpiece, most impressive, intense, mesmerizing and dare I say most inventive song in her discography.