West Coast

It's basically the same with people that constantly praise this record, call it a magnum opus (or whatever) and are not open to the fact that not every fan praise the crap out it though? Ok, werk.

You guys need to get over your sensitive selves and stop selectively clutching your pearls. It all comes down to personal taste. I still very much consider myself a fan even though I think her last two records have been really lackluster (in different ways, but still very lackluster!). NFR is obviously a great record, and I'm glad she's finally got good reviews, but it doesn't change how much this record doesn't do anything to me. I have the right to regurgitate the same comment if I feel like it, just like there are people on this sub that basically have nothing but praise for this record, and do just like I do on a daily basis (and good for them honestly!). Lana ain't no diety, not everything she does is going to please everyone, and it's honestly a good thing. She's not immune to criticism.

thanks for the good laugh too hun, Ultraviolence and Honeymoon are miles ahead from NFR in terms of cohesiveness and soundscape AND that's that on that.

Where does this crap about Dan Auerbach being a macho man comes from? Last time I checked he literally fought for Lana to release Ultraviolence against execs at Interscope?? They both had nothing but good thing to say about each other from that time period. Sometimes having a little bit of a challenge in the studio is good for you, not always having a yes man agreeing with your every decisions. You're just pissed because Dan was actually able to create something Jack did not on NFR: an intricate, atmospheric and cohesive soundscape. You obviously have no idea what you are talking about.

Hmm interesting, reading interviews from 2014 and Dan and Lana seemed to have quite opposite opinions about the direction of her music, whereas reading recent interviews "Oh Jack I love the chords here!!1!" "Der ok Lana". Jack is a yes man, Dan was more of a visionnaire. You tried again.

I honestly cannot with the person that said that both Dan Auerbach and Rick Ruben are washed up like... They might be washed up to you, but at least they don't put (alleged) amateur-ish mistakes/flaws make the final cut to add so call "charm" to a track (or to a certain extent: a whole album). The audacity!

If she wants to achieve that sound there's someone she needs to bring back and someone she needs to leave on the way side.

Thank you so much luv! It's hard being a fan in such a dedicated fanbase, I honestly appreciate everyone's output even if I don't agree with what's being said. I love to debate and I will never tell anyone to shut up. Glad to be apart of this community even if I feel a little alone standing in my convictions/opinions sometimes.

Born To Die 7.5/10 Legendary, game changing, most influential pop album of the 2010s! Ultraviolence 8.5/10 Impressive sophomore album, intense, beautifully crafted and intricate melodies. A raw rock-ish masterpiece! Honeymoon 9/10 Her most elaborate, lush, etheral and exquisite album released thus far. Literally a jewel in her discography, her most cohesive too. Lust for Life 4/10 I won't say much about this one, other than I gave a point for each songs that I actually like. Normal Fucking Rockwell! 6.5/10 Probably the one that feels more "organic", there are some of her best songs on it, but overall lacks a little bit of the attention to details and the cohesiveness (?) that her first three records have. Simply not a fan of most of the production and mastering either.

Sorry to bother anyone with that. I'm still a fan, like the rest of you guys. It just happened that this record just doesn't do or bring out much out of me... Don't mean to sound petty or pretentious, I'm just a fan and an audiophile. I just feel very passionately about Lana and it just happened that I haven't really been as into her albums in their entirety after Honeymoon. I just happen to think that Lana has released more interesting records in the past, lyrically, melodically and also from a production standpoint. That's it. Not trying to push my opinions as facts, I'm fully aware they are just that: opinions. I still think that NFR! was a great release this year, believe it or not there are actually songs on this record that I love. I'm glad she finally got a well deserved round of applause for her work, I just wished she got it sooner and for other record/s, that were also deserving of this level of praise, again, in my opinion even more so. I understand that what I say might sound harsh, but I'm just a passionate fan, there are things I appreciate and others not so much. Also, I guess after being Lana for seven years now and after listening to five drastically different albums from her (and an EP) as well as countless other albums from her contemporaries and albums that were released way before. I get to know more about what I like and what I don't. I'm still a fan, that will never change. Peace!

RIP Emile Haynie and Dan Auerbach

More like Legends on Legends. This is amazing.

Agree, but at the same time it just sounded cheap rather than charming. Even on the title track the piano sounds tinny... comparatively to HIAB on which it doesn't, might've been intentional, but that's not so cohesive, is it? Also, How To Disappear is probably the perfect example of a track that sounds more like an experimental demo rather than a finished and properly mastered tracks. I'm all for achieving a low-fi type of sound and making the songs sound not too perfect, but there's a line between leaving intentional flaws to add "charm" to a song and creating a cohesive sound, and making a song just sound cheap.

Every single post I make are about the absolutely atrocious production and mastering of this lackluster record and how the lyricism isn't nearly as mature and groundbreaking as some of you Stroganoff stan make it out to be AND how much the very same critics now crowning Lana as a musical genius for this record completely disregarded her entire discographby since she hit the scene. Which retrospectively, them eating shit as we speak is downright absurd and hilarious. But go off I'm also legit curious about some of you guy's opinion about her past albums at the time of their release? Like did you agree with all the negative backlash and the critique of character they made? And also how little they actually critiqued the music itself in these now so called revered musical reviews, but championed vicious and personal attacks? Like all of a sudden what they write about Lana is literary gold and factual, but back then, I'm pretty sure most of you guys jumped off and were ready to go for the jugular with some of these musical reviews. Genuinely curious. Ps: An album that has "fUcK iT i lUuUh yaAA!", "How To Disappear" as well as other obvious production and mastering flaws, cannot seriously be considered a masterpiece or better

He's just overwhelmed that critics recently woke the fuck up and finally gave Lana a long overdue round of applause, that all of a sudden this is it, this is Lana's most interesting record. Doesn't matter that the album as a questionable production/mastering and weak lyrical moments, it's whatever. All of her other albums don't mean crap and all aged like sour milk and were never even good to begin with. If you happen to think NFR! isn't all that great, you're delusional and somehow you're holding on to this old idea of what Lana should and has to sound like... oof. It's kinda sad tbh.

Honestly, all I get from Jared and some other members here, is that they think of Jack Antonoff as some sort of second coming over christ that saved Lana's career. Which is just baffling. Lana released three drastically different albums that sound nothing like the other, it's got nothing to do with the sound she went for, but the road, or execution she took to get there. Some of you guys just can't deal with the fact that there's an obvious downgrade in terms of sound quality on this record and pretend like this "adds" to the so called "charm" of the album, but in actuality just make it sound cheaper. To pretend like we want Lana to stick to a certain sound/style is just ridiculous. Is it just too much to understand that we want something that just sounds decent and not of lesser quality, from someone that actually released albums in the past that fit that very description?

I would honestly agree with you if NFR! was actually on an another level comparitively to her past releases, but it simply is not. The production and mastering of her past releases felt more cohesive and meticulous (except LFL) than what ended up being on NFR!. I still see NFR! as being the weaker album overall from a production point of view, there's is no highlight moments production wise on this record, or at least not for me. The album just lacks that "oomph" that the other albums had, it definitely lacks this sort of mix between intensity and/or mystery/mysticism or weirdness you'd find in a Lana album or song. Sorry to bring this up again, but I'm genuinely upset how most of the album has this dry, flat and tinny tone about it, so much for someone that says she spent months and months mastering records. I'd say that Get Free is probably the last Lana song on which Lana actually sounded like the Lana of her first records, the construction of this track is so "weird" yet interesting. Can't really say the same about the vast majority of songs on NFR!. There has definitely been growth on Lana's part, to me it feels like everything past Honeymoon, she stripped away the so called "Del Rey" persona in her music and lyricism. Agree, that she sounds more earnest on some songs on NFR!, but as for others I wouldn't say that lyrically it's her most interesting or mature album (that would be hands down Honeymoon) there are definitely songs that sound a little lyrically "basic" on NFR!. Like to me Venice Bitch... I like the song, but I definitely feel like the hazy/dry musical outro basically exists to beef up what was at the beginning a pretty weak song. The "Oh god miss you on my lips, it's me your little Venice bitch" and "woah woah for-ever", it might be 10 minutes long, but I don't see it as being career defining like some other fans. Not to mention her infamous and cringy "babies on the tour lyfe" lyrics in Happiness Is A Butterfly... You're right though Jared, there is no conspiracy, critics just want to hear more or less the same, for a lack of a better word, basic or less extravagant and/or weird stuff. Or at least not from someone like Lana, who up until fairly recently was like a black sheep in the music industry.

Agree, it's great that she finally receives acclaim and accolades for her work, but it kinda feels too little too late. NFR! surely was a great release this year, but it's pale in comparison to her first three records, it's legit her most subdued album.

Right?? Ever since she released When The World Was At War We Kept Dancing (which could've honestly been shortened to just "We Kept Dancing" or "World At War" like...) and now Hope Is A Dangerous Thing For A Woman Like Me To Have - But I Have It (which could've obviously just been titled "Hope"). Lana def think of a sentence and build lyrics around that. It's honestly hilarious and ridiculous.

Well agree to disagree. On Ultraviolence I really enjoyed the "raw" sound, I felt like it was a reflection of the raw content of the lyrcis in there, and the instrumentals actually sounded beautiful, intricate, intense yet balanced. But on NFR I just don't think that the white noise, very compressed/flat type of sound, and obvious poor mastering on most on most tracks gave the album "charm". It's very subjective I suppose.

Agree, but also I read that thinkpiece in its entirety and Ann definitely tried to pass it off as an album critique, but it was more or less of the same redundant bullshit that people have been saying about Lana for years now, but at the end it was like "Oh and btw critics are finally softening up to you and gave you good reviews for your last album, bye". Lana pretending she doesn't have a "persona" is annoying, because I venture to say that every songwriter ever, in a way, have one. But at the same time, I feel like Lana's reaction was valid, simply because she has been at the receiving end of so much hatred and animosity from these critics since she first hit the stage as "Lana Del Rey", so for some people to still question her authenticity and call her whole gig "uncooked", her being angry, although it might've sound a bit petulant, it was valid.

Not being picky though, it's literally the first thing I hear on the very first track of the album, how "flat" the vocal track sounds like, and also how the entire instrumentation of the title track sounds tinny, like it has this sorta cheap metallic sound (?) like at some point it legit sounds like loose change in a pocket. Still love the song, but much like the vast majority of this record I'm honestly perplexed about what happened, or didn't happened, when they produced/mastered this record. The so called flaws are obvious.

Don't get us started on this bitch. Her "review" was an attack on Lana's so called persona calling it "uncooked", which was quite frankly a lie and very uncalled for. But the whole vibe I'm getting from NFR, in my honest opinion, is very that... "uncooked", at least from a production point of view.

Ehhh Agree that it was probably the intention on this album, to have a more simplistic, less atmospheric type of sound, but it fell flat a bit to me. There's a huge difference between having a so called "overproduced" sound, and the the album sounding downright cheap. Honeymoon is far from overproduced, it's lush and etheral. On the other hand, NFR sounds pretty rough and uncooked, to me it feels like I'm listening to a bunch of demos. I also agree about Doin' Time, I actually like the song, but it feels completely out of place on NFR.

Don't agree with everything you both said, but this I agree with. But I just feel like Honeymoon, as a whole, feels more complete and much more polished than NFR.