West Coast

For me, NFR remains flaccid. I agree with Max. NFR is like a pancake that looks properly cooked from the outside, but, when you cut into, turns out to have a lot of uncooked batter in the middle.
 
Even if NFR was nothing but a collection of B-sides or outtakes, I would consider it flat, bland and mediocre as a whole.

a moment in time

This is basically my summary of the album too
HERE HERE

I'm happy that you are living your fantasy Jack I mean Jared! I don't mean to rain on your parade, but I don't think that the very same magazine that literally spat all over her other albums, all of a sudden basically giving Lana a license to kill actually means much. If anything it's just them eating shit up, for all the bullshit they've written about her the past eight years. Giving her a top spot on a decade ending list after being out for like a month and a half and sounding, well the way it sounds... if I could stretch this far I'd probably reach the Moon. 

Speaking of propaganda: you've been spamming several threads about Jack being an actual good producer for months now trying to convince people that he actually did good work on this record, Jack Jared. 
 
Also, sorry but pointing out flaws and amateur-ish mistakes and piss poor mastering, is not hating, it's called stating facts. 
 
 
 

I'm happy that you are living your fantasy Jack I mean Jared! I don't mean to rain on your parade, but I don't think that the very same magazine that literally spat all over her other albums, all of a sudden basically giving Lana a license to kill actually means much. If anything it's just them eating shit up, for all the bullshit they've written about her the past eight years. Giving her a top spot on a decade ending list after being out for like a month and a half and sounding, well the way it sounds... if I could stretch this far I'd probably reach the Moon. 

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.

It's just an opinion, I happen to think that from a production and mastering point of view, it is my least favourite album.
 
Quite frankly when it comes to Lana I really don't care what critics have to say about her, whether it's positive or negative. She's been at the receiving end of so much hatred, animosity and vicious attacks from the very same critics that are now giving her some sort of seal of approval like "look Lana we finally love one of your album, you're finally great!". Well, that's bullshit.
 
We are all free to enjoy whatever albums we want, we also have the ability to discuss about our likes and dislikes, but also things that are more or less matter of factly. Not trying to convince everyone, but maybe balance things out I guess. There are positive comments as well as negative ones here, it's totally normal, and should honestly stay as such. What a boring world when everyone systematically agree with one another.
 
Have a good day though!

Speaking of propaganda: you've been spamming several threads about Jack being an actual good producer for months now trying to convince people that he actually did good work on this record, Jack Jared. 
 
Also, sorry but pointing out flaws and amateur-ish mistakes and piss poor mastering, is not hating, it's called stating facts. 
 
 
 

I'm happy that you are living your fantasy Jack I mean Jared! I don't mean to rain on your parade, but I don't think that the very same magazine that literally spat all over her other albums, all of a sudden basically giving Lana a license to kill actually means much. If anything it's just them eating shit up, for all the bullshit they've written about her the past eight years. Giving her a top spot on a decade ending list after being out for like a month and a half and sounding, well the way it sounds... if I could stretch this far I'd probably reach the Moon. 

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.

It's just an opinion, I happen to think that from a production and mastering point of view, it is my least favourite album.
 
Quite frankly when it comes to Lana I really don't care what critics have to say about her, whether it's positive or negative. She's been at the receiving end of so much hatred, animosity and vicious attacks from the very same critics that are now giving her some sort of seal of approval like "look Lana we finally love one of your album, you're finally great!". Well, that's bullshit.
 
We are all free to enjoy whatever albums we want, we also have the ability to discuss about our likes and dislikes, but also things that are more or less matter of factly. Not trying to convince everyone, but maybe balance things out I guess. There are positive comments as well as negative ones here, it's totally normal, and should honestly stay as such. What a boring world when everyone systematically agree with one another.
 
Have a good day though!

Speaking of propaganda: you've been spamming several threads about Jack being an actual good producer for months now trying to convince people that he actually did good work on this record, Jack Jared. 
 
Also, sorry but pointing out flaws and amateur-ish mistakes and piss poor mastering, is not hating, it's called stating facts. 
 
 
 

I'm happy that you are living your fantasy Jack I mean Jared! I don't mean to rain on your parade, but I don't think that the very same magazine that literally spat all over her other albums, all of a sudden basically giving Lana a license to kill actually means much. If anything it's just them eating shit up, for all the bullshit they've written about her the past eight years. Giving her a top spot on a decade ending list after being out for like a month and a half and sounding, well the way it sounds... if I could stretch this far I'd probably reach the Moon. 

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.

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.

I'm happy that you are living your fantasy Jack I mean Jared! I don't mean to rain on your parade, but I don't think that the very same magazine that literally spat all over her other albums, all of a sudden basically giving Lana a license to kill actually means much. If anything it's just them eating shit up, for all the bullshit they've written about her the past eight years. Giving her a top spot on a decade ending list after being out for like a month and a half and sounding, well the way it sounds... if I could stretch this far I'd probably reach the Moon. 

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.

I'm happy that you are living your fantasy Jack I mean Jared! I don't mean to rain on your parade, but I don't think that the very same magazine that literally spat all over her other albums, all of a sudden basically giving Lana a license to kill actually means much. If anything it's just them eating shit up, for all the bullshit they've written about her the past eight years. Giving her a top spot on a decade ending list after being out for like a month and a half and sounding, well the way it sounds... if I could stretch this far I'd probably reach the Moon. 

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.

speaking of spamming remember when lanaboards user jared got mod queued for
 
 
 

Speaking of propaganda: you've been spamming several threads about Jack being an actual good producer for months now trying to convince people that he actually did good work on this record, Jack Jared. 
 
Also, sorry but pointing out flaws and amateur-ish mistakes and piss poor mastering, is not hating, it's called stating facts. 
 
 
 

I'm happy that you are living your fantasy Jack I mean Jared! I don't mean to rain on your parade, but I don't think that the very same magazine that literally spat all over her other albums, all of a sudden basically giving Lana a license to kill actually means much. If anything it's just them eating shit up, for all the bullshit they've written about her the past eight years. Giving her a top spot on a decade ending list after being out for like a month and a half and sounding, well the way it sounds... if I could stretch this far I'd probably reach the Moon. 

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.

I love NFR, but just because it has more critical acclaim than honeymoon doesn’t necessarily make it a better album.