West Coast

I really can't place what my opinion is on this album yet. It might take me a year or more. All I have to go off is that I listened to Lust for Life more when it came out and this album is making me obsessed with all her previous work again and I want it to stay that way so I don't get let down by WHF

i HATE how the sweater isn't tucked under the belt in the front 

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. 

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. 

honestly i feel like the second half of honeymoon holds up a LOT better than the second half of ultraviolence

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.
 

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. 

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. 

This. I don't know how else to explain and this discussion keeps going around and around, so:
 
Remember in primary school when you'd do a history project and you'd use teabags to discolour the edges of the paper to give it that aged look? You added an intentional imperfection to ADD to your project.
 
Okay, well ...
 
The volume changes in HTD (for example) are akin to your grandfather spilling his tea all over said history project on the morning it's due. It's an imperfection, but it wasn't intentional, and it doesn't ADD anything to the project, it detracts.
 
There ARE intentional imperfections that you could argue ADD to the vibe of the album or whatever, but there are also blatant, lazy, technical errors. There is a difference between the two, so stop excusing the latter by pretending that they are the former.
 
I get that some people here can't accept that Jack and/or sis aren't perfect, but Jesus.

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. 

Those "production flaws" that NFR has, whether intentional or not, do not make the record sound more unique and raw. It just sounds cheap, but despite that I still think it's a pretty solid record. We can still have our own opinions on it. And I apologize for throwing around the word "delusional" regarding other's personal opinions, I didn't take much thought into it. 

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.
 

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. 

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.

why are y'all trying to convince urselves the flaws in the production department were intentional!! literally having vocals that cut off awkwardly instead of properly fading out, very obvious volume increases (and i have hearing issues so that i assume that shit is VERY obvious to other people), and half filtered out white noise is not the way u make things sound ""cheap"" or ""nostalgic""

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. 

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.

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

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.

I can appreciate the instrumentation but it does seem flat. 
 
And her vocals weren't very daring. Ultraviolence showcased her vocals very well.