West Coast

Exactly? Like all of a sudden we have to take into consideration what some a bunch of eDgY hIpStErS from Pitchfork actually thinks of Lana's music, give me a fucking break.

Well @@RormanNockwell was right after all. 

I used to listen to Lana pretty much every day.  But my apathy for this new record unfortunately has given me apathy for her in general.  Whenever I listen to the older stuff, I still like it, but now I only listen to her maybe once a week.  Really hoping I dig her next album, coz Honeymoon was the last record I really loved, and after L4L and NFR, I don't think my fandom could take another let down.

Completely and utterly correct! NFR is her second worst album behind LFL!!

Beyonce's beyond overrated live album shouldn't even be in contention. 
 

Best since BTD? What's his problem with Ultraviolence and Honeymoon? Can't stand listening to what they made together or the emotion in her lyrics from the pain he caused her or?

So you mean to tell me that Lana (and her yes man Jack) intentionally made most of the instrumentals sound flat and dry, purposefully omitted bass on pretty much 99% of the album AND championed a very unequal, unpolished and uncooked approach for the production and mastering of the record? Hmmmmm sorry, but no.
 
Both Ultraviolence and Honeymoon are miles ahead in terms of recording quality and/or soundscape. They are timeless classics. Brooklyn Baby, Shades of Cool, West Coast, Sad Girl, Pretty When You Cry, Honeymoon, Music To Watch Boys To, Terrence Loves You, Salvatore and The Blackest Day (and even Heroine and Get Free) obliterate the production and mastering of every single songs on NFR.
 
I cannot actually believe that we are fighting over the production of this record when we have so much amazing music from Lana (as well as many of her contemporaries) to actually compare it too, like it's painfully obvious that the attention to detail to create a top notch atmospheric sound was totally lost on this record.
 
I don't need anyone's "bias" over at Pitchfork to convince me otherwise, I know Lana has had better production days. 

Here's an explicit list of Honeymoon songs that are better than Love Song:
 
 
 

why did she go for that hideous pop art font/style for the cover this era 

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Remember when we used to about Lana hanging out with the instagram baddies drinking matcha and stuff? Well this is proof that things can and will get worse.

why are cops always into highschool football? 

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Was this intentional?  
 

Sorry but I have to laugh, this whole "NFR iS tHe bEsT FeMaLe aLbUm ReLeAsEd tHis dEcAdE!!1!" narrative you're trying to push is getting a little old now.
 
It's honestly laughable how you always bring up Honeymoon stans being bitter that NFR got recognition Honeymoon did not, like you're always using critics as proof of Lana's so called greatness on this record. Very same critic that literally shit all over her discography up until this album. Albums that, if I may add, probably got you into listening to her music or be a fan I presume? Shitty critics didn't stop you from listening to these albums at the time of their release, did they? Funny how now some of y'all Jackoff Antonoff stans now use that as some sort of leverage whenever people point the out the obvious faults and flaws on NFR.
 
Sorry but saying that this album is her best just because she's got good reviews for it is bullshit, it's literally been two months since its release and as much as I love Lana and think it's well overdue that she receives acclaim, saying that NFR is better than the tens of thousands of album that have been released since 2010, let alone her own albums, is a fucking joke.
 
You keep talking about how perfect this album is, but frankly, it's probably her most subdued. For the life of me, I honestly can't stand how flat, dry, tinny and lifeless the instrumentals sound, not mentioning how cheap they come off on certain tracks too. And don't even get me started on how unequal and plain the vocals sound too on most tracks. It's just painful how there is not symbiosis between voice and instruments on this record. Even some of the lyrics are just cringeworthy "Oh god miss you on my lips, it's me your little Venice Bitch" like wtf is that about? So much for Lana's alleged "best and career defining song".
 
Funnily enough, on my way back home earlier Brooklyn Baby came on shuffle, and wow, this track obliterates the vast majority of tracks on NFR. Instrumental wise it's everything NFR should've been, perfect balance of subtlety and intensity, intricate instrumentals not like "look I can play guitar!!" in your face kinda instrumentals, everything but flat, and perfect arrangement of vocals and instrumentals. An actual masterpiece.
 
At this particular point even Lust for Life was better production wise.

Anyone who knows even a fair amount about the broad history of American and British folk music in all its myriad forms and sub-genres recognizes that NFR is not a folk album of any kind, though it may have been folk-inspired, especially by the early 1970s ‘Laurel Canyon Sound’ that LDR seems to be fascinated with at present.
 
Clearly, on NFR she’s taken a few cues from Joni Mitchell’s ‘Ladies of the Canyon’ and ‘Blue’ albums, both musically and lyrically.
 
A sub-sub genre of American folk music, a sort of estranged cousin of the ‘Laurel Canyon Sound,’ is the early 1970s ‘Singer/Songwriter’ genre, which encompassed everyone from Carole King, Jackson Browne and Cat Stevens to James Taylor, Carly Simon, Melanie, Paul Simon, Karla Bonoff, Kris Kristofferson, John Denver, Janis Ian, Maria Muldaur and many others.
 
If anything, NFR is much more of an attempt at a ‘Singer/Songwriter’ album than a legitimate folk album of any kind.

I can see what you mean, but then again if you compare to Ultraviolence, which was also intentionally raw and real, it didn't end up sounding this messy. 

Some of yall keep saying that people are coming from the piano/acoustic driven sound she went for the vast majority of songs on the album, but I literally only see people (very much including me) criticizing the piss poor mastering and flawed production of the record. Get out of here with these sketchy claims. 
 
If you want to base your appreciation for an album based on what critics say instead of making your own opinion, well that's your prerogative. But looking back that's kind of stupid, Lana has released stellar albums that literally got obliterated by the very same critics that gave rave reviews to NFR. She literally released one of the, if one the most popular and influential album of the 2010s, that's literally still charting to this day. Now you're trying to act as if it aged like sour milk, while it actually still sounds fresh seven years later (Born To Die is that girl).
 
I can't with you Jack Stroganoff stans, whew.
 

Agree, she said that she spends months mastering her records, but there are obvious flaws and amateur-ish mistakes that came through sonically... why does it sound so bad then? 
 
 
Yeah, but like most of the records doesn't even sound folky. NFR ain't no folk album.

So you mean to tell me that Lana (and her yes man Jack) intentionally made most of the instrumentals sound flat and dry, purposefully omitted bass on pretty much 99% of the album AND championed a very unequal, unpolished and uncooked approach for the production and mastering of the record? Hmmmmm sorry, but no.
 
Both Ultraviolence and Honeymoon are miles ahead in terms of recording quality and/or soundscape. They are timeless classics. Brooklyn Baby, Shades of Cool, West Coast, Sad Girl, Pretty When You Cry, Honeymoon, Music To Watch Boys To, Terrence Loves You, Salvatore and The Blackest Day (and even Heroine and Get Free) obliterate the production and mastering of every single songs on NFR.
 
I cannot actually believe that we are fighting over the production of this record when we have so much amazing music from Lana (as well as many of her contemporaries) to actually compare it too, like it's painfully obvious that the attention to detail to create a top notch atmospheric sound was totally lost on this record.
 
I don't need anyone's "bias" over at Pitchfork to convince me otherwise, I know Lana has had better production days. 

Girl, that's def more desert/progressive rock than folky. 

looking back on the Honeymoon post-release thread a few months after release, it's shocking how much people didn't like the album 
 
the thing is, Honeymoon is obviously a mood album. NFR! very much isn't, so it has to be judged as a set of individual songs (that are compiled together in album form obv) as opposed to a big atmospheric piece, so i think any comparisons in quality between Honeymoon and NFR! are kind of redundant. it seems much fairer to judge its quality in comparison to BTD and UV.
 
 
 

So you mean to tell me that Lana (and her yes man Jack) intentionally made most of the instrumentals sound flat and dry, purposefully omitted bass on pretty much 99% of the album AND championed a very unequal, unpolished and uncooked approach for the production and mastering of the record? Hmmmmm sorry, but no.
 
Both Ultraviolence and Honeymoon are miles ahead in terms of recording quality and/or soundscape. They are timeless classics. Brooklyn Baby, Shades of Cool, West Coast, Sad Girl, Pretty When You Cry, Honeymoon, Music To Watch Boys To, Terrence Loves You, Salvatore and The Blackest Day (and even Heroine and Get Free) obliterate the production and mastering of every single songs on NFR.
 
I cannot actually believe that we are fighting over the production of this record when we have so much amazing music from Lana (as well as many of her contemporaries) to actually compare it too, like it's painfully obvious that the attention to detail to create a top notch atmospheric sound was totally lost on this record.
 
I don't need anyone's "bias" over at Pitchfork to convince me otherwise, I know Lana has had better production days.