West Coast

As someone that has shit all over the production of NFR and has dragged Jack through the pits of hell and back over the subpar/cheap production/mastering of the album (and will continue to do so), I'm kinda digging the instrumentation in Lana's latest spoken word piece. I hope it follows a similar path sonically for LDR7.

I wish Lana would spend as much time and energy into producing, mastering, finishing her art and promoting it as she spends time making sure we understand she hates her fucking mom.

That's a beautiful and insightful piece you wrote, but no ma'am, Lana is definitely lazy.

Thanks, Paradixo.
 
I just feel like at the end of the day it all comes down to personal preferences and I'm just not a fan of the "'NFR!'sound", just not my cup of tea I guess. Might be too extreme to call the album "cheap", but that's kind of how I felt listening to the album multiple times even on FLAC.
 
I hope they switch things a little for the next record. Like she goes back to something similar to her earlier albums, sonically.

As much as I think @ 's contribution was fair; music can lack beats or bass and still sound big or loud. To me, the only reason it sounds so quiet is because, well, 1. it's produced in a way so it sounds quiet and has space, 2. it's simply low. the whole master has "low volume" compared to her other records. and that's probably lana's choice alongside engineer laura sisk.

But for real, I'm by no means a sound engineer. I think I'm just an audiophile.
 
But, to me there's something kinda flat or muffled, and quite frankly, iffy about the overall sound quality of this album, like the record quality or mastering process gave this album this kind of flat/dry type of sound? I don't mean to beat a dead horse as I've made my point on several occasions in the pre and post release threads and even in the White Hot Forever/LDR7 thread, but I'm just not a fan of this type of sound. It's just kind of muffled and for a lack of a better word "cheap". I also think that for the most part the album cruelly lacks bass or beat to complement or create depth in sound, I don't know. It's very "off the shelf" there's not the same attention to detail sonically speaking. By all means, it's an alright album, but there's something just so beige, basic and/or simple about it, especially the production. Sorry, not sorry.
 
I feel like with her past records, especially the first three, there was a sense of intensity and grandeur in the sound? 'Born To Die' and 'Paradise' had that crisp/clear type of sound on each tracks, some say it's overproduced, and I could agree to that to a certain extent, but it just sounded like a really slick and clean pop record.
 
'Ultraviolence' was very atmospheric, I am a fan of the raw type of sound, I feel like the instrumentation on the album is intricate, intense and superb. I love that, and this is according to both Dan and Lana, the songs were recorded with a live band. Someone said in the LDR7 thread recently that it's once-in-a-lifetime record and I very much agree with that.
 
'Honeymoon' has got to be her most lush album as far as production goes. There's something just really beautiful and balanced, yet again intricate, about the way the album sounds, it's like the perfect mix of a classical/movie score type of sound and modern trap beats? It's just very beautiful, lush, elegant and cinematic.
 
I won't really get into how I feel about 'Lust for Life' as I think that the album is just kind of all over the place artistically speaking, but for the most part even the songs I don't like I think as far as audio goes, they sound good. But I was not a fan of how the trap beats were just overused here, kinda cheapened the whole experience. There are highs and lows on the album, but the songs I really like on there, they sound great.
 
So yeah, and this is very personal, I'm just not a fan of the so called 'NFR' sound.

Whilst I think it was completely stupid and unnecessary to namedrop anyone in her letter to the "culture", I kinda wish that she had namedropped Lorde and Halsey instead. This would've turned into a completely different situation. 

bold of you to assume that she even thinks of Halsey in the first place 

But for real, I'm by no means a sound engineer. I think I'm just an audiophile.
 
But, to me there's something kinda flat or muffled, and quite frankly, iffy about the overall sound quality of this album, like the record quality or mastering process gave this album this kind of flat/dry type of sound? I don't mean to beat a dead horse as I've made my point on several occasions in the pre and post release threads and even in the White Hot Forever/LDR7 thread, but I'm just not a fan of this type of sound. It's just kind of muffled and for a lack of a better word "cheap". I also think that for the most part the album cruelly lacks bass or beat to complement or create depth in sound, I don't know. It's very "off the shelf" there's not the same attention to detail sonically speaking. By all means, it's an alright album, but there's something just so beige, basic and/or simple about it, especially the production. Sorry, not sorry.
 
I feel like with her past records, especially the first three, there was a sense of intensity and grandeur in the sound? 'Born To Die' and 'Paradise' had that crisp/clear type of sound on each tracks, some say it's overproduced, and I could agree to that to a certain extent, but it just sounded like a really slick and clean pop record.
 
'Ultraviolence' was very atmospheric, I am a fan of the raw type of sound, I feel like the instrumentation on the album is intricate, intense and superb. I love that, and this is according to both Dan and Lana, the songs were recorded with a live band. Someone said in the LDR7 thread recently that it's once-in-a-lifetime record and I very much agree with that.
 
'Honeymoon' has got to be her most lush album as far as production goes. There's something just really beautiful and balanced, yet again intricate, about the way the album sounds, it's like the perfect mix of a classical/movie score type of sound and modern trap beats? It's just very beautiful, lush, elegant and cinematic.
 
I won't really get into how I feel about 'Lust for Life' as I think that the album is just kind of all over the place artistically speaking, but for the most part even the songs I don't like I think as far as audio goes, they sound good. But I was not a fan of how the trap beats were just overused here, kinda cheapened the whole experience. There are highs and lows on the album, but the songs I really like on there, they sound great.
 
So yeah, and this is very personal, I'm just not a fan of the so called 'NFR' sound.

I mean the bit in HTD when the jingle bells come in is quite loud.
 
Jack had to do that otherwise you wouldn't hear her over the jingle bells

But for real, I'm by no means a sound engineer. I think I'm just an audiophile.
 
But, to me there's something kinda flat or muffled, and quite frankly, iffy about the overall sound quality of this album, like the record quality or mastering process gave this album this kind of flat/dry type of sound? I don't mean to beat a dead horse as I've made my point on several occasions in the pre and post release threads and even in the White Hot Forever/LDR7 thread, but I'm just not a fan of this type of sound. It's just kind of muffled and for a lack of a better word "cheap". I also think that for the most part the album cruelly lacks bass or beat to complement or create depth in sound, I don't know. It's very "off the shelf" there's not the same attention to detail sonically speaking. By all means, it's an alright album, but there's something just so beige, basic and/or simple about it, especially the production. Sorry, not sorry.
 
I feel like with her past records, especially the first three, there was a sense of intensity and grandeur in the sound? 'Born To Die' and 'Paradise' had that crisp/clear type of sound on each tracks, some say it's overproduced, and I could agree to that to a certain extent, but it just sounded like a really slick and clean pop record.
 
'Ultraviolence' was very atmospheric, I am a fan of the raw type of sound, I feel like the instrumentation on the album is intricate, intense and superb. I love that, and this is according to both Dan and Lana, the songs were recorded with a live band. Someone said in the LDR7 thread recently that it's once-in-a-lifetime record and I very much agree with that.
 
'Honeymoon' has got to be her most lush album as far as production goes. There's something just really beautiful and balanced, yet again intricate, about the way the album sounds, it's like the perfect mix of a classical/movie score type of sound and modern trap beats? It's just very beautiful, lush, elegant and cinematic.
 
I won't really get into how I feel about 'Lust for Life' as I think that the album is just kind of all over the place artistically speaking, but for the most part even the songs I don't like I think as far as audio goes, they sound good. But I was not a fan of how the trap beats were just overused here, kinda cheapened the whole experience. There are highs and lows on the album, but the songs I really like on there, they sound great.
 
So yeah, and this is very personal, I'm just not a fan of the so called 'NFR' sound.

I co-signed this.

Whilst I think it was completely stupid and unnecessary to namedrop anyone in her letter to the "culture", I kinda wish that she had namedropped Lorde and Halsey instead. This would've turned into a completely different situation. 

@ where you at

Cancel/Call out culture is toxic and stupid (most of the time). Lana will be fine.

I'm just glad Lana didn't develop Stockholm syndrome while being held captive in Win's basement. Poor Win, probably burning all his signed memorabilia one by one some place as we speak...

As someone that has shit all over the production of NFR and has dragged Jack through the pits of hell and back over the subpar/cheap production/mastering of the album (and will continue to do so), I'm kinda digging the instrumentation in Lana's latest spoken word piece. I hope it follows a similar path sonically for LDR7.

Whilst I think it was completely stupid and unnecessary to namedrop anyone in her letter to the "culture", I kinda wish that she had namedropped Lorde and Halsey instead. This would've turned into a completely different situation. 

bold of you to assume that she even thinks of Halsey in the first place 

Thanks. I think she DOES come from wealth or relative wealth—‘upper middle class wealth’ at least—but in her mind, ‘wealth’ may mean only the kind of wealth she has now, and better than that. I assume her father made most of the family money and since he had to continue to work to generate it, they weren’t ‘independently wealthy’ by any means.
 
Unlike a lot of members here, I also believe LDR played a big role in crafting her initial LDR persona, participating in all of those dozens, if not hundreds, of mostly high-glamour photo shoots. Some like to believe Interscope forced that all on her.

Whilst I think it was completely stupid and unnecessary to namedrop anyone in her letter to the "culture", I kinda wish that she had namedropped Lorde and Halsey instead. This would've turned into a completely different situation. 

Whilst I think it was completely stupid and unnecessary to namedrop anyone in her letter to the "culture", I kinda wish that she had namedropped Lorde and Halsey instead. This would've turned into a completely different situation. 

bold of you to assume that she even thinks of Halsey in the first place 

I would die if Lana was ever asked her thoughts about Halsey in an interview and was like "sorry- who?"

as if halsey wouldn't like the attention lmao