prostitutestare

I don't know why I am so surprised at how "Honeymoon" has moved me. It is, in my opinion, the best album Lana has released, and rightfilly so. It is only right that the music grows with the artist. I thought "Ultraviolence" was dark, introspective, and chillingly deep, but Lana has reached a new level of morbidity here. My favorite tracks are "Freak" because she gives me coked out hippie chick teas, "The Darkest Day," particularly the bit about the blue nail polish, thr Shania Twain twang, and those "Oh my god" s during the hook, which capture the desolation the song conveys wonderfully and richly, "Art Deco" for its alternative hip hop meshed tea, and "God Knows I Tried." This album has solidified my status as a fan of Lana's work. I will never understand how she produces music that is the soundtrack to my life. She is a truly fierce b*tch.

I have to say that "Freak" ia utterly everything. Lana has reached a whole new level of sensual goddesstry with the song. Can we get into how in control she is of the vocal and how the production perfectly complements hsr delivery? I love her signature, out of tune vocal trill she does at the end of what i guess is the first verse leading into the chorus. "Oh, ohh, ohhh, ohh, ahhahha" Wail, Lana. She slayed me with that.

I totally agree with you about the disconnect between the bridge and the rest of the song. It is so disarming and incongruous. The bridge is cool, but just not on this song.

Someone nay have said this already, but I do not feel as if we give Lana enough credit as a lyrical savant. I honestly believe there is a reason she repeats the same phrases continuously throughout the song. There has to be. Lana has been giving us self written songs for eons now, so at this point she must know what she is doing when she presents us something like this, which seems so simple on the surface as it relates to the lyrics but is really quite methodical. Maybe it is, as I believe someone else said, that she wanted the emphasis to be on the production, the goddess vocal execution.

Am I the only one who has listened to nothing but this track since its release? My lawd. Not even "Ultraviolence," which I absolutely loved, received this many listens from me. I just can't get over how Lana killed, slayed, ate, and tore through this song in her elegant, effortless way. She is a goddess. The way that she deliberately phrases things for effect... Everything! I cannot wait for the new album. I just can't. **Dreaming away your life, hmm-hmmm-hmmm-hmmmmhhm-hmm** She ate that.

One last thing, Lana's singing technique has gotten so much fiercer. Am I the only one getting into how this tramp has seemingly perfected a vibrato, a few runs, and melisma. Work, Lana. Her phrasing and diction have always been crisp, too. She is "SANGING" this damn song, without the extras. Slay.

Also, Lana is staying true to her word. She said this album's material would act as a continuation of where she left off with "The Other Woman." The Nina Simone teas are heavier here, though, especially during the improvised riffing toward fhe end of the song. Yes, Lana, I love how you pay homage to Mother Nina.

I knew that this musical goddess would not dissapoint me after hearing the initial snippet. I must say that I am overwhelmed with joy. She absolutely bat this song out of the park. Her confidence as a musician, as well as her maturity, have grown and are evident on "Honeymoon." I love how she breaks into that languid chorus with the repeating melodic "Our honeymoon" phrase. In my opinion, this song is only a refining of the fierceness Lana has always given. I cannot deal.

I am not here for upbeat music by Lana. I think she is at her best when the songs are dark and thoughtful. I love these predictions you all are coming to based on Lana's mention of those artists.

What I like about these interviews, or what I like to think of as small snippets into the psyche of Queen Lana, is that they show the obvious growth, the change, she has experienced over the course of her career and her being exposed to media scrutiny. She has matured so much, gotten stronger artistically and mentally, and whereas in times past, where it was a little difficult to understand what she was expressing verbally, I feel that now she is quite clear as to who she is, and that comes across perfectly now. I cannot wait for the new music. It is going to kill all of us dead!

The mood of much of Sia's second album, Colour the Small One, gives a similar vibe to the mood of this particular song.After all, it is the album possesses the iconic "Breathe Me." Many of the songs are quite somber, stirring, and depressing, quite like this one. Even the way Lana's tone comes across here, and the way she purrs some of the lyrics is chillingly Sia-like. I am suprised no one has ever spoken to these similarities before. This is not the first time I have heard a parallel between that era of Sia's discography and Lana's intimate, sullen songs.

My lawd, have muhcy! This is what I like to hear from Lana. Am I the only one getting a dark Sia vibe from this? Lana does so well to emote pain through her music. You all must get into the bleakness of her delivery, and the forsakenness of the bridge. Lol! Yeas, Lana. This is such a sad song, and she nailed that aspect of it.

*Goes back and rereads my original post that prompted this response, only to be left unsure as to why the girls are giving soo much to a simple question. Hmmph.* Thank you for your response. I get why you would like Lana to revisit her interpretation of hip hop.

Clearly, you take things that should not be taken so seriously very seriously. You should calm down and breathe, sis. This was not an issue of common sense. I simply asked a question, which typically occurs during a discussion.

No shade, but girls, especially Me: I Am Mariah, I am not sure why you all are so here for a hip hop tune from Mother Lana. I will admit that the hip hop splashed flavoring of some of BTD give a small amount of life, but not enough to make me crave a new album under that same vein. It does not help, I guess, that I am not a hip hop girl at oils. I could deal with something along the lines of Dark Paradise or Cola, even though Cola is not a BTD tune. It gives an uptempo dance flair that is completely different from anything on UV and seems individual to Lana. I would like another AFFA, JFK...I mean, yes, maybe those songs come across as predictable from Lana, but they also show Lana at her best.

I like this new expression Lana is giving us because she is clearly more confident as an artist. She emotes more and gives more of a show. Vintage Lana was so shook and unsure, and it made for a boring performance. I need her to amp up this new expression for the next era. I also like the images from both stages of expression. Hair, hair, and more hair, but the subdued, heroin chic casualness of her most recent era was also a fave.

First of all, the opening summary of this thread is well written and thought out, so thank you for that. I thought Ultraviolence was my favorite release from Lana, but I now believe that this album, as a whole, albeit tracks like Gramma and Mermaid Hotel, that I need to revisit, is my favorite. I cannot believe how great of a work it is, and how it has been overlooked by those outside of the Lana-sphere. The fact that it is still an unknown work to many is confusing. My favorite songs from the album are Kill Kill and Jump. "Kill, Kill" is the type of song that makes you want to rock your hips and dance in a sultry way. That darn line, "Palm trees in black and white; last thing I saw before I died" is iconic because, to me, it somehow embodies the entire dark theme of the album, though it is delivered in an airy, unassumingly light way. What a work, Lana!

I forgot about blonde as an option. Hmm. I just want something thoughtful and authentic to her.

What do you all think her look will be for the new era? I have this thought that she will give us burgundy or some form of dark red hair that will be styled and cascaded for death. In regards to her clothing, I am thinking that she will serve us immaculate gowns and high fashion labels.

Judging by her offerings from the Big Eyes soundtrack, I expect excellence from Lana. I want her to continue to grow and explore herself as a woman and artist, and then pour all of that into the new music. I loved Ultraviolence, so I am excited. Hopefully, she will connect with Rick Nowels and some of the other gals who have helped her create, what is to me, her best work.

Initially, i immediately loved the vocal grandness of I Can Fly, but I was unable to get Big Eyes. However, now out of the two, Big Eyes has become my favorite. Both songs stand as symbols of Lana's growth as an artist, particularly, a vocal perfectionist. Big Eyes, though. Wow. It is well written, sinister in the way Lana delivers it vocally, and elegantly harsh, especially in those last lines of the second verse where Lana goes, "Your world was burning and I stood watching As I looked on, the flames grew high You watched me frown I said "goodbye" . Work, Lana! The first verse's "I saw you creeping around the garden; what are you hiding?" There is something about that line, the way that she sings it, as it opens the song, that captures every part of me. The image it creates is clear and vivid due to Lana's emotive skills.

Yeas, I love the confidence she is conveying here. She seems more mature and sure of her musical talent.

Where are the songs she released during the Phenomena era? "Disco" is the only one I am familiar with, and it slays for dear life.

Yeas, Lana you better channel the legendary goddess Joni in your music, because you do it so damn well. Both ladies convey an unfiltered liberty and freedom in their music that is so iconic. And who did not know Lana loves to dance? Where is the . Gif of Lana giving us a good 'ol country ho-down twitch of her hip in her cowgirl ensemble? Or how about the receipt of her giving us a 70s wig whip in the Shades of Cool video? Anyhow, this was a good interview. I am unhappy to read that she is dealing with depression, but I guess that is what makes her music so appealing to many of us. She is the queen of refined and elegant doom.

That is what I wanted. I just knew Lana was going to give us fierce cult glamour teas. Oh, well. While the video does leave a whole lot to be desired, she is still, without a doubt, my favorite music bitch. Even with its blandness, the video conveys the darkness I always crave from Lana. And not for nothing, but no other music diva, other than Bey can emote for all of their life, to the most bland of music. She is a natural actress. She was giving me face, expression, and feeling. And her face, it is surgically SNATCHED. She looked amazing.