prostitutestare

Yeeas for those pin curls.
 
I love this song. It is becoming a favorite of mine. It is such a technically perfect track. Lana has always had good diction and phrasing, and she showcases it to its pinnacle in this song. She better be a hummingbird at the end!

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.

Lana is a gay goddess, just like many other female artists who flaunt their femininity in such a powerful way. The thing I like about Lana, and what speaks to my gay brain chemistry, is her essence. Her vocal, visual, and the way she portrays her musical image is glamorous, sublime, and there is a maliciousness, a darkness that I find appealing.

I have been listening to the song all morning, and I am not sure if anyone has commented on this already, but I am so undone over the fact that Lana channeled all of the goddesses of the Motown era to vocally produce this track. Work, Lana. I am surprised that I did not hear it at first. Am I the only one who gets Diana, Gladys, 50s 60s doo wop tease, especially from the chorus? The last little bit SMACKS of Minnie Ripperton, and yes, I know she is not of the Motown era. There is even a bit of bird whistling in the background during Lana's humming that alludes to her paying homage to Miss Minnie, the queen of the sickening, bird like whistle note. Yes, Lana. She has clearly studied the mothers of music.

"Disco" is completely depressing. I love it. She gives me drugged out siren, stabbing the last bit of heroin into her arm. And I cannot forget about "Ride." I just love that verse where she says, "Don't leave me now, don't say goodbye, don't turn around, leave me high and dry." In my mind, I could totally imagine her in this state of desolation, on her knees, begging her "daddy," who clearly is no good for her and only wants her for a quick lay, to provide her with even a small amount of gentleness. Lana effortlessly captures the loneliness and self-deprecation of the song's theme within her tone of voice.

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 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.

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.

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.

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.

Why does everyone associate repetitive choruses with laziness? The way I see it, she has moved away from simply telling stories to capturing a specific moment/idea/atmosphere. It doesn't have to be a bad thing.

Daaaarrrrrrrrk bluee.....daaaaaarrrrrk bluee.
 

I love how gay you are. 

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.

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.

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.

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.

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.

The production sounds great on headphones … probably the best she's done. It sounds warm, spacious, and natural, rather than ProTooled (BTD) and murky (UV)

If the rest of the songs are on the level of Honeymoon then we are in for a treat with this album.
I always had faith in Lana but now I have so much more, the album is gonna deliver