West Coast

Nominations, accolades, reviews shmews. They could literally erect a statue on "honor" of that album, for all I care. Norman Fucking Rockwell! remains Norman Fucking Rockwell! despite all of that. Congrats for her two Grammys noms though.

Congratulations Lana! AOTY and SOTY?! Wow. And for Norman Fucking Rockwell!2? Anything is possible. I'm just over here thinking that she should've been nominated and win song of the year in 2015 for West Coast, if there's really a song in her catalog that deserves to be revered as revolutionary and on which she pushed her sound forward, that is West Coast. Anyway, good luck Lana you're up against pretty strong contenders (and I really mean popular) in your categories.

Wow congrats Lana for grabbing two nominations! I hope you win! (Although you're most likely going to be eclipsed, we'll see) I see that Jared (Jack? I'm not even sure at this point... ) woke up from his long winter's nap. To write yet another missive about Lana's alleged I thought you had been banned from writing these things? Yet again bashing people that are far more active than he is on this community and actually try to write interesting think pieces about the state of Lana's music instead of resolving into regurgitating the same two damn words. Anywho. Also another reminder of what? That Lana is literally at her weakest spot artistically, vocally, and she's receiving these accolades left and right when she couldn't be more basic and doesn't try hard to do anything these days? What are you on? The only delusion on this thread is you acting like this lackluster record (which by the way had been buried until the Grammy committee brought it back from beyond the grave. Will it chart again? What position was it yesterday? 193? ) is remotely close to being Lana's best album, because industry people finally gave Lana some sort of recognition after YEARS or relentless criticism and hateful rants. Which by the way makes them look like clowns, now they are sucking up to her. Jackoff getting a nomination for best producer is further proof that the Grammys are a complete and utter joke, the guy doesn't even know how to properly produce and master a record and create interesting instrumentals, high school band muc? Flat Antonoff is as basic as basic gets. I hope your mental breakdown won't be too harsh on January 26th when Lana loses both Grammys over 'artists' that are even more beige and boring than what she has become on this record. Because that's how awards shows actually work. But they don't mention that in Pitchfork articles/reviews, that's why I'm sure you didn't even know. Acting like award shows are actually rewarding talent in the show business industry... wow your mind. If that were the case Lana would've received the recognition she deserved at the time for her first three albums, and that's that on that. Billie Eilish is probably going to eclipsed anyone, just watch this year's Grammys being all about her. Oh well. You would be surprised to realize how rigged and political these so called awards are being given and how many of iconic artists whose work transcend generations have got little to no recognition from their industry counterparts.

I meant "it was right and just that she didn't submit this album for Best Sound Engineering, because it's just not"

Which was right and just.

Lana trashing her own damn lyrics live is getting so old now, what's the matter with her??

It's absolutely absurd to me how some fans here think it's redundant that three months-ish later some of us are still writing comments about how disappointed we are with how the album turned out to be. But at the same time they have no problem coming here and say things like"who else feel like CG grew on them??? It's one of my favourites now! <3" or like you mentioned have these arguments over which season suits the album best, or what astrological sign each songs are associated with. As if that is not any less redundant than us having arguments over technical aspects of this album. True, but at the same time Lust for Life was lyrically incredibly corny and faux-woke with its half assed message of "hope" and subtheme of "PoLiTiCaL cLiMaTe".

I can see where you are coming from with this, believe me I get it. We are very much aware that we are beating a dead horse... I mean it's been what almost three months since the album was released? I know we're talking ill of it, but we're basically keeping this record alive with this thread. I know we're being harsh here, but at the same time if it wasn't for us keeping the discussion alive about this record, I'd personally rather see us discuss the album's production/mastering and lyricism than coming here and seeing comments like "who thinks that Cinnamon Girl is the best song on NFR??!!1!". We can agree to disagree. So it's basic, unless it's not? Not sure I follow you here. By the way, I'm very much aware that what I write here isn't being written matter of factly. I've said it before, I'll say it again. What I write on this thread is my opinion.

I agree with everything that is written here, but especially what I have highlighted. I've been feeling the exact same way about Lana ever since the release of Lust for Life. Lana has definitely been tamed, or self tamed like you said. She no longer writes so called "shocking" lyrics, she was probably tired of having to explain why she went for such or such lyrics after the album was released. It's just kind of sad to me, she used to make something different, but now everything is so... beige? Her lyricism definitely changed trajectory and I'm not sure if I'm here for it. On some of her new songs she couldn't sound more basic if she tried... like seven years ago I would've never even imagined that Lana would once sing "the culture is lit". We're far from the days of her lyrical excellency. I've said it in the unpopular opinion thread, but to me unless she gets out of this faux-woke/basic Valley girl narrative, the Lana that I love peaked at Honeymoon. I believe that one of the reasons why Lana got rave reviews for this record (aside from critics obviously eating shit up for writing such terrible things about her all those years and finally realizing how great she is even at her most tamed and subdued), is how incredibly soft and not-Lana (comparatively to her first three albums) this album is. It's hilarious to me how she would think that she's breaking any rules with this record. It would be a lie to me not saying that part of why I fell for her, was the Del Rey persona aspect of her music. Which couldn't be more erased these days.

I totally get that this is probably a lot of negativity for some fans... but at the same time this is LanaBoards, and we are also on the Norman Fucking Rockwell! Post-Release discussion thread, like we're discussing the album... I don't think I, or other people on here, are spreading negativity. We're merely discussing an album from an artist that we love. It's not all rosy and pink ya know. I get that it's probably annoying for you to come here and see negative comments, or critiques towards an album that, I assume, you probably adore. But, last time I checked this is not the "Norman Fucking Rockwell! Post-Release praising/positive/good vibes" discussion (or something) thread? Well... you go. I'm not going anywhere.

The fact that she sings White Mustang, and is still singing that worn out medley, but obliterated MAC... yet this is the Norman Fucking Rockwell Tour. If I were Lana I would just go ahead and re-name this either the Not So Norman Fucking Rockwell Tour, or just The Tour at this particular point.

The greatest would've been better if the instrumentals were more intense and balanced, it sounds like a high school band at some point I swear. Also, the vocal mixing (much like the rest of the record) is atrociously flat. I would honestly like to have a talk with the people that were responsible for the engineering and mastering of this album, they can't possibly be serious. To me HIAB could've been a better song had it been more lyrically consistent. I've been saying this for months, but it feels like she mish-mashed three different songs together. I still can't get over her sticking to the "babies on the tour lyfe lyrics", it's incredibly dreary and cheesy on her part. I don't mind the serial killer part as it's the best part of the song I think, I wish the whole song was about that, would've been more cohesive lyrically. The thing about VB is that I feel like the long hazy musical outro basically beefs up what is in fact a pretty simple and, sorry, weak song. I feel like just because it's almost ten minutes long, people act like it's somewhat of a masterpiece and it's a revolutionary song. I personally like the song, but the outro is quite weak to me and has that flat/dry tone that a lot of song on this record have. Sounds more like Jack fucking with his guitar than something sonically cohesive or interesting to listen to. I know it might sound silly, but I feel like it was Lana and Jack's attempt at recreating a longer song à la Pink Floyd's Shine On You Crazy Diamond, long instrumental intro/outro with a short lyrical bit. But the Pink Floyd track is actually well executed and very atmospheric, which VB is not in my humble opinion. I feel like Lana is trying to get away from what actually made her different and more interesting than her contemporaries. She used to have such a strong and clear vision, very dramatic/melodramatic like you said before. But now I feel like she wants to bland in. She has the right to do what she wants. But as a listener and a fan, I also have the right to feel like her changing lanes and going into this "wannabe vagabond poet/Valley girl folk singer" road, is much less interesting.

This is exactly how I feel about the album, I think Lana would probably not like me using this term, but to me NFR is uncooked. I cannot stand hot flat and lifeless the production and mastering are on this record. We could argue that this was an artistic decision on her part, to make the record sound more "rough to the touch", and I think that it may be it, but it's just not the type of sound that I actually like, it just sounds lackluster to me. I'm still not over how unbelievably tinny the piano sound on this record... and also how dry the guitar come off. I think you've mentioned it in a previous comment, but like The greatest, one of the great songs on this record, it just lacks that climax moment. I very much feel that. Also, I don't like how the vocals sound just super muffled and flat all at once (and also Lana's enunciation here too). To me, after the first chorus, the instrumentation should've pop off and climax, but it just lacks intensity... and that's not just on this particular song, most songs on the record suffer from that in my opinion. I fully agree with your views on Looking for America, I've personally listened to the song just a few times... it's one of those songs on which I really appreciate the message, but it doesn't make me appreciate the song for a song, if that make sense. Same thing goes for Hope. Love the lyricism, but the song itself is quite dull to me (sorry). There used to be a distinct vision on her records, but NFR it feels quite unfinished I find. The last great Lana songs that I've really enjoyed was Get Free if I'm being completely honest. I honestly try to listen to NFR in its entirety from time to time, but I just cannot get into it. I never thought I would use this word to describe Lana's music with this word, but it's quite boring. I didn't like Lust for Life, and still very much consider it to be my least favourite album, but looking back I can definitely pin points aspects that she did better on it, than on NFR.

Exactly. Do tell, please Yup, it's not like there's much to talk about, like the album is no longer charting (or up there anyway) and like people outside of this fandom have already forgotten about it. Besides this and Lana seemingly recycling her setlist, showing up late and dating the c*p... there's not much going on

You don't even have to be an audiophile to find the production/mastering of this record to be questionable, like from the first listen I already spotted details that sounded hella off and cheap, the further I listen to it, the more I find it cheap and lackluster. Thank god I don't have to pretend to like this album just because it's Lana's, can't relate to that.

I totally get what you mean. Though I can see how and why some fans really appreciate this record. It just doesn't bring out much out of me. I still very much revere Lana's first three records as her best. They all have a very distinctive soundscape and that depth of sound that NFR is completely lacking, most songs on it don't have that climax moment or intricacy in the instrumentals to make them sound great and varied. I've said this on several other posts, but the production and mastering on here is quite lackluster, it sounds flat and lifeless. Edit: That R.E.M. song is great... it's weirdly very NFR-ish, but like in a world where NFR actually sounds like a fully finished and properly produced and mastered record.

I'm curious as to how many LanaBoards users are actually listening to Tame Impala? Kevin Parker and Lana are my top two artists, I wish this thread was more active! So what are your guys favourite song/album? Expectations for The Slow Rush? Ever seen them live? Let's discuss!

that's unlikely for White Hot Forever/LDR7, but that would actually be amazing I think! Fun fact Lana actually worked with Giorgio Moroder, apparently she left him hang in there and never got back in the studio with him

ughhh her mind

there's a whole thread just for that , but apparently it was canceled.

I honestly listen to just a handful of unreleased songs.

1. Ultraviolence 2. Honeymoon 3. Born To Die 4. Norman Fucking Rockwell! 5. AKA 99. Lust for Life

How about these young kids get educated by their parents and not Lana Del Rey? I mean I was 17 years old when I first started listening to Lana and I'm now 24, granted I'm not a woman, but still I knew they were just that lyrics? Lana's way of expressing her thoughts, recall events or tell her fantasies? Might as well make it sound romantic and beautiful, yet tragic?

I remember seeing a lot of tweets and tumblr posts back in 2014... this particular show was batshit, almost discouraged me from attending my first show a month or so later. Let's say that the crowd was pretty tamed at my show comparatively, still witnessed people being pushy (and the other two shows as well) but it's not that bad when you're leaning onto the front row fence, still annoying being pushed, but yeah. Lana shows are quite something, I don't even know if I want to be front row again.

are you referencing the 2014 show in San Francisco??? That show is iconic for all the wrong reasons, I remember hearing a lot of stories and that one girl that did this show recap back in the days, it was wild! I've personally seen Lana three times, but each time in Montreal, so I've seen the same crowd at front row pretty much, don't really interact with people there tbh, most of them annoy me a little lol.