West Coast

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
 

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.

You mean corner Jack and make him listen to an album that is actually properly produced and mastered?! 
 

Well agree to disagree then, I found Paradise to be completely different than Born To Die and not remotely in the "same realm". I personally found Lust for Life to be a huge let down, and then NFR! to be somewhat of a let down for completely different reasons, and she seems to be going down the same road with the same producer. We'll see.

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. 

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.

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.

Finally someone else says it

Unpopular opinion but Bartender is amazing. Probably my current favorite from the album.

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
 

^ I guess maybe that is part of the reason NFR feels less cohesive. There is less of a planned, thought-out persona so it's more bland and shifty.

um I know her references aren't anything new. Your post comes off as very condescending. You are not apart of a select group of people who have noticed them. Maybe you feel a "spark", but there is a difference between doing it gracefully (which we know she is capable of doing) and just listing every 60s song you can think of. She has done it in ways that were subtle and charming and made sense, but in NFR she just tosses them out randomly. 

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? 
 
 

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.

primarily j*red but

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.

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? 
 
 

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. 

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. 

^ and all the lyrics referencing other lyrics or artists are super cringy. I, the listener, should not be feeling second-hand embarrassment while listening to music. But it's exactly how I feel when listening to NFR