West Coast

Agree so much with this!

The title track is a fine song. The production and mastering is not. I wish the piano didn't sound so tinny and cheap. Same goes for her vocals they sound unfortunately flat and drowned in this cheap-ish instrumentation. I'm still not sure why Lana and Jack went there with the production, it's not worthy of a Lana album (where's the intricacy and quality in recording?). I guess it really sets the tone for the rest of the record, quality wise, it doesn't get much better (or worse) from that point on.

This hasn't changed much but: 1. Ultraviolence = Honeymoon 2. Paradise 3. Born To Die 4. Norman Fucking Rockwell! 5. AKA 6. Lust for Life

Imagine acting as if Lana was not at the receiving end of so much negativity, hatred, and was treated unfairly by critics because it was cool for them to do so at the time, but they also perpetuated made up things said about her. All of that tainted their judgement of her music. But now, we have to pretend that critics actually matter because they spent the last four months eating shit up and backtracking from the things that they had written about her for seven years and they are now crowning her as some sort of musical genius over this single album? Sounds a tad dishonest and unfair to Lana to me. Norman Fucking Rockwell! is a good album, but to pretend like Lana has put herself at the forefront of the music industry with it and pushed forward her own boundaries musically and lyrically, because critics now say so is just non-sensical. Pitchfork, of all medium, posting and re-posting their recent articles about Lana, also implying that she ignored critics and somehow powered through and finally released her alleged "best album" is a fucking joke. They have been her biggest and most vicious critics for seven years and now they want us to believe that THEY think Lana has become the best living American singer/songwriter overnight? You guys chose what you want to believe, you want to ignore years of bullshit and echo critics in that sense, good for you. I personally know better.

On the top of my head: Born To Die, Cruel World, Honeymoon... but also, Be Above It, Let It Happen, Shine On You Crazy Diamond, Reflektor, Do I Wanna Know?, Body Language (Intro), as well as many others. They all say hi.

Agree. NFR isn't really an album on which she displayed amazing vocal prowess. So in that regard, the title track does differ from the rest of the album, not saying the vocal delivery was the most amazing thing she's done, but other than that there were not really vocal highlights on the record, maybe the vocal run when she sings "and I'm waaaaasted" in 'The greatest'. But that's about it. I feel like Lana sometimes purposefully writes corny/cringy lyrics for some of her core audience. You know, those that go batshit when she moans in 'Serial Killer' or when she says "bitch", "fuck" in 'Cherry' when performed live.

Oh definitely. I'm honestly not sure how and why Lana even submitted the title track for the Grammys, The greatest would've been a more obvious choice to me.

Am I the only one that finds these year end (and decade end) reviews/critics to be the most absurd, but also hilarious? The funniest part to me was reading in the year end list Pitchfork made, something along the line of: "she ignored the haters and plowed forward". As if those haters were not Pitchfork writers! What ratings did they give Born To Die again? 5.5? Didn't they also call the album something along the line of a "fake orgasm"? With a lot of these publications, I feel like critics are trying to push down our throat this narrative that Lana started off as an inauthentic-untalented-rich-Daddy's-little-girl-nobody, but got slowly, but surely, increasingly better and more "honest" with each album, and Norman Fucking Rockwell! just happen to be her realest album, at the same time acting like her other albums are completely worthless. Also, acting as if it now sits on top of her discography. I have to laugh.

This is exactly what it is, "beige" as in "...this is as boring as watching beige paint drying on the wall". Glad to see I'm not the only one, the "honeymoon" period of the album is over now I think, especially with a lot of these critics backing down from their comments about Lana early on in her career, with these year end/decade end list. A lot of fans are seeing through the bullshit around (and with) this album.

A man of many talents. Imagine if he had work on NFR.

Sorry but

Oh wow such powerful pictures! this doesn't need spoilers.

Anyway, I've been reading a lot of comments on Reddit and Twitter. A lot of people seem to be questioning why NFR is getting all the love from critics as this year (and decade) is coming to a close. Her other album deserve to get the same type of recognition as NFR has had this year. I honestly can't believe they are pushing her most beige album down our throat as her best. I'm starting to feel like NFR is actually overrated, which is never a word I would've thought using to describe something Lana puts out.

Yeah. Jack having his hands all over this record definitely helped Lana. Not in a music quality way, but in a "I'm popular and well liked in the industry" kinda way. Dan Auerbach is more of a mystery, he's produced a lot of different music projects and is popular from being in The Black Keys, but he's not hanging out with a lot of "pop" girls and getting his name out there (Grammys and other shady business insider stuff), unlike Jack.

This. People on this damn website act as if Lana is being their thought police and they, as well as we, should kill every single negative thoughts/comments about her because she might get offended. Besides her m*nagers I honestly feel like Lana couldn't give two shits about LanaBoards.

My thought exactly. There's a huge difference between more palatable lyrics (or dumbing down lyrics sometimes) and being more "mature" lyrics wise. I agree that some songs on NFR! display character development, or artistic evolution. But to say that with each album she got increasingly more mature with what she decided to sing about, is a bit inaccurate. LFL was notoriously juvenile lyrics wise, and there were juvenile and subpar/weak lyrics on NFR! as well. To me Honeymoon remains her most intelligent work to date, Ultraviolence her most raw and Born To Die her most melodic lyrically.

Lol... dude. Yes I don't particularly like this album, but if you actually read my comments, they are not targeting people that "love" the album and try to convince them otherwise. I'm mainly pointing out specific aspects about the album I find to be lackluster on my end, but also poiting out that having only critics to back up your love for the album is very dishonest and ridicule. Also, imagine thinking that I, or other people on this thread that write comments similar to mine, are being considered annoying or repetitive because we write comments in a thread dedicated to an album, when on the other hand the only other comments on this thread are "what song grew on you? <3" or "rank you songs from least favourite to most favourite!". Some people love the album, others don't. But don't come for me for participating in a discussion regarding an album, when there's not much going on, or much substance being discussed, about said album less than four months after its release. Geez. Edit: didn't read you second comment... I guess I can say I was right? lol

Don't apologize your English is fine! Also I relate to your comment a lot. Here's my unpopular opinion too: I went from listening to Lana almost daily, to barely listen to her every other day. I can honestly say that I've listened to maybe 3-4 songs off NFR more than 10-15 times. I've listened to that album from start to finish 4, maybe 5 times at the most? Same thing happened with LFL if I'm being honest. But this era I'm just over her antics and laziness.

Sorta agree. I'm a long time fan and Lonerism is one of my favourite albums of all time, and Currents is pretty amazing too! I have hope for the next album, although so far I like his latest single the most... we'll see. But KP is a musical genius, I want him and Lana to create something so bad!

The Slow Rush is officially coming out on February 14th, just in time for Valentine's Day! So far I like Posthumous Forgiveness the most, it has a lot of Currents vibes. It Might Be Time was a good song, but I still can't get into Borderline. Can't wait for the rest of the record to come out, hopefully we'll have another single before the release.

What do people think of his latest single off the new record, as a matter of fact what do people think of all the singles released thus far? https://www.youtube.com/44lWO3qhQMk

I agree for the most part with you! I don't like the title track of LFL all too much, nor do I like the rest of the album all too much either. But Get Free is an amazing song and my favourite from the album! I missed that weird or mysterious composition or instrumentation on NFR to be honest. But I get what you are saying, there have been so many pop girls that have come and go and went for that doo-wop sound, which I didn't care for too much. But somehow if Lana was to make an album with a Nancy Sinatra and Lee Hazlewood type of sound, I'd so be here for that! There's something very specific of the time period that they have done on their joint record, I wish Lana would explore a similar sound, this would be so like her.

Imagine getting in your feelings and having nothing better do to than to resolve to post and quote articles and reviews excerpts about people praising the album, because you literally have no arguments/original thoughts to use and debate or ague with. Better, coming here and throw a hissy fit to the people that don't like Jack as a producer and are able to point out specific elements they don't like about his production style and musicianship. Like he's legit acting surprised that people are talking about NFR and Jack in the NFR thread... I honestly can't relate to this level of foolishness. I've said it before, but I'm almost certain that Jared is Jack in disguise. This is the only explanation.

I personally did not hate the doo-wop vibes on LFL, but they were very subdued (on the title track and Get Free). If she'd go for a true 60s pop sound, like Nancy Sinatra or the Shangri-Las that would actually be kinda cool in my opinion.

I have not really listened to 'so sad so sexy to be honest' honest with you, but their song 'Come Find Me' is a jewel, such a great track.