uzzunov

Idk if anyone else would consider this "news" or interesting at all really but omg could this mean Lana is finally embracing her Lana Del Ray persona?!
 

 
inb4 people reaching @ this pointing to an AKA re-release.

I thought it might be useful to dedicate one thread to the early tidbits of info we are getting about Lana'a up-coming fourth studio album.

Here's what we have thus far:
 
Interview for The Fader:
I’m a big jazz aficionado. Hopefully my next foray will be into jazz. I feel like I’m getting there with songs like ‘Shades of Cool’ and ‘Cruel World’ and a cover of ‘The Other Woman’ by Nina Simone. I’m inching towards what I really love, which is kind of a Chet Baker, Nina Simone-inspired sound. It’s hard to get that sound because you need great jazz musicians. 
 
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http://lizzydelgrant.tumblr.com/post/90085038067

Interviewer: You will record something tonight, do you know what it is, or right now?

Lana: I do, yeah I do. I have this idea for this record called "Music to Watch Boys To," so. Yeah, I'm just kind of thinking about that and what that would mean [laughs].

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Interview for Galore Magazine:

Are you working on anything new?
Yeah, I just wrote two songs for Tim Burton and Harvey Weinstein’s film called Big Eyes and I’m working on a new record. I’m also always writing small pieces for independent films etc. Dan Heath and Rick Nowels are two of my dearest friends and producers and we are always up to something.

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Interview for Grazia Magazine

What is your state of mind now?
I’m afraid this album will be forgotten. I’m always afraid good things will be forgotten, burried. Musically, I’m still looking for something different, with majestic choruses, beautiful orchestrations, a type of 50s vibe with a bit of soft grunge. Since march, I’ve been writing a lot of new songs, in a more conventional way -the verses, then the refrain, with a strong jazzy influence. I’m having a lot of fun with all of that. And next year, I’ll tour across the USA. I’ve been doing it only once before and I was really moved, especially in Detroit where I could feel the weight of its History. So, that’s why I decided I wanted to do it again, this time with my friend Courtney Love, for two months. My new album will come out after, maybe for late-august.
Did you writing style change for this next record?
My lyrics are very similar to me, who I truly am, but I must admit that I’m currently trying to do some new things. It’s a bit surrealist, full of colors. I feel much more inspired by people like Mark Ryden, Fellini or Picasso… Oh, I’m totally fond of this documentary: “Fellini : I’m a Born Liar”, which explains that the film-maker was in love with his hometown, and each of his movies is like one of its facets. I like his idea, the fact that truth should never impede to a beautiful lie… (she smiles)

You seem to like evoking the 50s imagery in your songs: the golden age of recording studios, ladies singing late at night with their big band…
Yeah, I love it. I love nightlife, the mood that comes from it. That’s why I wanted to meet Mark Ronson: I played him ten songs I just composed for this next album. Not so much that he added his usual signature, soul and funk, but rather it explores a sound close to the golden age of jazz. I wasn’t even born in the 50s but I feel like I was there. And when I still was living in New York, I was looking for this dream, maybe some other girls had the same, to live as a singer in a jazz club where I could sing some standards, but my own compositions too. I had a very ‘romantic’ vision of what a singer’s life should be. I daydreamed about tours in Europe, just like Chet Baker did, for example.
 
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Billboard Magazine:
 
Lana Del Rey has nine songs written for her next album, titled Honeymoon -- four of which "the production is perfect; I'm looking for a few more songs to tie everything together" -- and thanks to her cinematic new song, she's also in the thick of awards season.
 
Does the Big Eyes song give us any indication of how the new album will sound?
It's very different from the last one and similar to the first two, Born to Die and Paradise. I finished my last one [Ultraviolence] in March and released it in June and I had a follow-up idea. It's growing into something I really like. I'm kind of enjoying sinking into this more noirish feel for this one. It's been good.
You're still writing everything?
I'm doing a cover of "Don't Let Me Be Misunderstood." After doing a cover of [Jessie Mae Robinson's] "The Other Woman," I like summarizing the record with a jazz song. I'm having fun with my interpretation.
I assume you're relying on the Nina Simone versions?
"Don't Let Me Be Misunderstood" and "The Other Woman" are my favorites. I'm so so much [a fan].
---
 
Mark Ronson for Triple J:
http://www.abc.net.au/triplej/media/s4174087.htm
 
Says that he rumors of his involvement with Honeymoon are an "internet thing," but says he has heard "beautiful tracks" and does not want to comment on anything before Lana does. However, he says that he has not worked on anything (yet?)
 
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The Inquirer:
" I feel that the three records were so heavy and autobiographical. It’s been so cathartic. I like to use my previous work as a jump-off point to do something new. I’m ready to go into more of a ‘Lucy in the Sky With Diamonds’ surrealist place. That’s why I really do like what I heard about Fellini and all of the movies that were overdubbed and the actors were counting and not saying lines. I couldn’t believe that.
 
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Inrockuptibles:
"Everybody has asked why I wanted to end Ultraviolence by a cover of The Other Woman by Nina Simone. Because she says everything, because I love jazz and may be because it could a door for what could be the next album."
 
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Mark Ronson for Interview Magazine:
 
"Q-TIP: What are you doing in L.A.?
Mark RONSON: I'm going to do some recording with Lana Del Rey today and tomorrow. I found this cool old studio out here. 

Q-TIP: Are you producing? 

RONSON: I don't know. She has some songs and I said I had some demo ideas, and if they are any good, then maybe she'll like them and we'll go from there. "
 
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On Instagram:

 
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Video from tour saying that the record will be released in September:
https://twitter.com/LanaDeIReyDaily/status/602515526649163776
 
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Honeymoon lyrics found in tour merch:
http://www.nme.com/news/lana-del-rey/85451?utm_source=twitter&utm_medium=social&utm_campaign=lanadelrey

We need #EMABiggestFansLanaDelRey

view galleryWho knows a girl better than her sister? No one—that’s why NYLON asked Lana Del Rey to interview and photograph her baby sis Chuck Grant, who just so happens to be an in-demand, cool-girl photographer. Clearly, talent runs in those stylish genes.
“Chuck has been photographing me for 10 years, and the shots she’s taken have revealed a lot to me about who she is,” says Del Rey. “She captures what I consider to be the visual equivalent of what I do sonically. Even years ago, when she was just beginning, she seemed to have a reason and a vision for each frame. Now, after I've met so many famous photographers, her aesthetic and talent still stands out as being one of the most interesting and well developed.”
Listen in as the two talk about photography, fashion, and yoga    
When it comes to photography, describe your aesthetic.
My work is pretty graphic, and I like a flash. The image has to be beautiful and compelling, but I also incorporate humor into my photos. I would say my style is fine art documentary, which includes photographers like Philip-Lorca diCorcia and Tina Barney, who document the lives of really interesting people—diCorcia did a project called “Hustlers,” where he got a grant from the government to photograph male prostitutes. That’s a very strong concept to me.
Which projects have you really enjoyed shooting?
I really liked shooting Mormon families in Utah for New York magazine. They were profiling the creative class within the Mormon subculture.   
That’s very you; when I think of you, I think of subcultures.  
It’s something I’ve spent a lot of time talking about, so it’s natural that those types of assignments would come to me. 
Now that you’ve spent time shooting me on the road, and also spent the past few years shooting in more of a documentary style, what are your plans for the future?
I’m interested in dipping into fashion. 
That’s kind of strange that you’ve gotten there now, considering last year you became certified as a yoga teacher and have been involved in a lot of really grounding Eastern practices. I would think you might be drawn to something more serene.
I know! But right now I just want to work with people who are smart and serious about photography, and deliver shots that are sincere and inspired by what I'm interested in. I also feel compelled these days to incorporate faith in my work, whether it’s through photography or by teaching yoga. I believe you need to be a conduit for divinity, and I think teaching yoga or having inspired conversations infuse my photography with a new sense of purpose that makes the photographs even more personal to me. 
So who would you be interested in shooting for fashion?
Someone like Lupita Nyong'o for Cistanthe, a really culturally relevant, beautiful brand. 
What collaborations with photographers and fashion have you really liked?
I love Juergen Teller for Marc Jacobs. Juergen likes to shoot celebrity types in shocking ways. So when he shot [unconventional models] for Marc Jacobs, it was very on point for him and the brand. 
That reminds me of one of your projects about Tina, an ex-corporate executive and aging debutante, who still wore pink streaks in her hair, and was dating much younger men.
I remember walking into Tina’s apartment and realizing that her whole world was already so well conceived—it was impossible to take a bad picture. The same was true when I was shooting Leandra Medine for her blog Man Repeller. She knew exactly who she was, and I appreciated that. 
You’ve told me before that you like symbolism and symmetry in photography. Why is that? 
I think that anyone can take a photograph, but I believe there is such a thing as a perfect composition. I like when the objects in a frame tell their own story and carry a narrative. Cartier-Bresson, or any of those street photographers, like Friedlander, are still so relevant today because their content was so striking and important, but almost more important was the form and beauty found in their composition. I strive for that.
 
source http://www.nylon.com/articles/visual-storyteller-chuck-grant

Photos by Francesco Carrozzini

I work in music store in Bulgaria. Ultraviolence is one of 10 most selling albums  

I can say: F*ck Virgin radio ... 

she loves Serge Gainsbourg <3 Wow! 

I just found this and thought I was a very interesting interview. http://lanadelreycrew.com/2014/08/lana-del-reys-interview-with-bhmagazino/
 
” Ultraviolence ” gives you the vibe that it could have been written back in the 60′s in Laurel Canyon, this neighbour hood in Los Angeles where an informal community of artists like Frank Zappa and Jim Morrison had been created.
 
Yes, I really love that era, especially Johnny Mitchell, which was my mothers favorite. When I was living in New York, that’s what I was going for, the feeling of community, something like what Jeff Buckley did back in the 90′s, or Bob Dylan in the 60′s. However, I never found my ” gang “, my family.
When I arrived in Los Angeles, I met people who I could play with, people who I could talk to. All those had somehow rebuilt, Laurel Canyon, like Father John Misty and Jonathan Wilson, who I started writing the album with. Whatever I was seeking in New York, I found it on the West Coast. I used to drive in my old Mercedes from one house to another, I felt like I was back in high school. Every seven years the centre of gravity in the music industry moves from one coast to another. Now everything’s in the ” West Coast “.
 
Your songs seem to put melancholy in an environment of opulence. Is this your intention or does this happen accidentally?
 
I feel like I make happy songs, but when others listen to them, they think they’re sad. I can’t escape from my life, which has been wavy. Three years after my debut album, I’m still suffering from self-doubt and depression. Ahead of me there’s uncertainty and a feeling of emptiness. I don’t like it when I don’t know where I’m going. My love life, my family – are so fragile. I’m not sure of anything.
 
What do your fans maybe not imagine about your life?
 
Nobody knows it but I really love to dance, While we were recording in Nashville, when we were finished with the tracks, we would listen to everything we had made and dance along like crazy. We invited people we had met in a shop near the area of the studio and our friends like Juliette Lewis or Harmony Korine. I never worked like that before. It was the first time I was with such creative people in the studio. I learned a lot, now I can isolate myself, I can experiment without trying, even if there are many people in the studio. There’s a huge universe in my mind I usually go to find shelter in. I may not be that lucky in my everyday life, but as far as my work is concerned – I’m blessed. In the studio I’m always surrounded by good people. My mood is always good there.
 
You’ve been through a lot until you released Born To Die, when did you realize that you have to insist on working?
 
While recording Born To Die, I will never forget when my father visited me. He was so surprised when he saw me so sure, so determined, asking for a beat or a deal with my producer. He had no idea what I had been doing for 6 years, the fact that I was building my own little world with passion. My parents didn’t even know I was singing. However when my father saw me in the studio, he told me it was one of the most beautiful days of his life. He was so shocked, he realized that music was my passion. My family insisted on telling me to not drop out of school for music. I finished my studies in Philosophy because I knew it would help me “nourish” my songs.
 
Do you believe in talent?
 
I feel like I have a charisma to make music. However, these last years there were times when I hadn’t written a word I liked and I prayed for my muse to come back to me. And suddenly, last winter, a song like ” Old Money ” came to my mind. What happened with an older song called ” Carmen “, is that I got inspired while walking and wrote it afterwards. That time of my life I used to walk a lot, it was my ritual. Now, I drive and go swimming on the Pacific Ocean. And inspiration comes to me from these everyday actions. I record myself in my car, singing loudly.
 
Which part of your work is pleasure and which part of your work is torture?
 
Pleasure starts and ends with recording the album. Then the pain starts, touring, promotion, difficult stuff. Because even if I try to convince myself it’s okay, misunderstandings and twisted ideas regarding who I am, are constantly being spread around, and I feel like I have to stand up for myself, like I have to excuse everything I do and I don’t need that. My music is quite good for me to not need to excuse myself. Deep inside, I’d rather keep silent.
 
How concentrated are you when you work?
 
I can make my producer go crazy, because I have a very clear vision for my songs and in the end I want the speakers to play exactly what I had in my head. Same goes for the videos. I have the storyboards ready in my mind. I might have made Auerbach so insane this year, but at the end of the day there will be one name on the cover of the album and that’s my name. I have to protect it.
 
There’s this track on Ultraviolence called ” Brooklyn Baby ” where you mentioned Lou Reed.
 
I was dreaming to share it with him, I thought that he would find the lyrics very fun. I wrote them thinking about him. The day I flew to New York in order to meet him, he died.
 
A lot of your idols have died at such a young age, Elliot Smith, Amy Winehouse, Marilyn Monroe, Jeff Buckley..
 
I do not love them because they died young, but this seems to be the fate of almost everyone I admire. Luckily, this didn’t happen with Leonard Cohen. I do not romanticize death at a young age, artists are far more useful alive than dead.
 
You give the impression you don’t enjoy huge concerts, is that true?
 
I’m on tour in America since the first days of April, it’s the first time I play so many shows and everything goes exceptionally well. These past two years I don’t feel very well physically, I suffer from gastric ulcer, but I can make it through concerts who’s capacity can be over 9,000 people. I smoke, I drink a lot of coffee. I eat chocolate and pizza. My way of living when I’m not on tour isn’t that right. The fact I played Coachella and Glastonbury in the same year is a great honour. When I’m done with my tour, I’d like to occupy myself with cinema and movies. I have received some interesting suggestions and I’m really tempted to say ” Yes! “. When I was little I used to dream about Cannes, the festival, the prestige and the red carpet. I sang there last May for the third year in a row. As a teenager, I dreamt about living in France, an exile poetess. I really loved French culture, especially Serge Gainsbourg.

You are so wrong, pls leave

what happened to this tho 
hope we get this video 

I could arrange myself with the West Coast video and I was surprised how much I loved the Shades Of Cool video but the new one.. 
 
I've really tried to find some great aspects in that music video but tbh I have a hard time doing so.
It's only Lana in a wedding dress, putting on an ugly veil, picking up some flowers that she randomly finds on the ground, eating an orange in a disgusting way, sucking fingers and kneeling down in front of an altar.
If she looked stunningly beautiful I could live with it but her face and especially her lips look so weird and awkward.
 
Anyways, I tried to figure out a storyline (even though there is no plot at all probably):
Imo the Ultraviolence video is a music video that is about a homemade video. Lana and that man who is filming her with his iPhone are a couple and he is the boss in their relationship. Maybe they feel too young for marriage or they want to capture their wedding in a special way, perhaps what we see is their real wedding actually, like they run away from home and only have each other and that's why there are no family or friends. So after they have found a nice location, he starts filming the preparations and the walk to the altar. They are totally attracted to each other but I wouldn't talk about unconditional love, he wants to capture her beautiful face and she sucks his fingers in order to show her desire for him. In the end it seems like he sits down next to her as her groom. Maybe she doesn't know that these flowers are normally used for funerals and thinking of her man as a difficult, ultraviolent man I assume that he has many other women and plans to leave her, this means that the flowers are a death symbol of their relationship.
 
very speculative though.

The video was directed by her and it looks like she was 100% in charge.
 
only lana would cancel a big budget video and opt out for this trash instead.

Yep! In Bulgaria I work in one store - ORANGE :D :D 
So strange video ... I don't know. Perfect song, but the concept? 

the most expensive thing in this video is an orange

looks like a homemade video

Nicole Sia at Wondering Sound is yet another journalist that has come to the conclusion that our girl is not an act, but rather a real person telling her story through her music, and sometimes painfully honest interviews.
 
http://www.wonderingsound.com/feature/lana-del-rey-ultraviolence-review/
 
 
On Ultraviolence, her second album since her Norma Jeane-style transformation from bottle-blond folk singer to pin-curled indie lightning rod, Lana Del Rey tells us a secret: She was once the Other Woman.
 
Self-identifying as a mistress may feel like a minor revelation, but it gives context for the self-destructive Lolita persona that’s become Del Rey’s trademark. On one hand, the role can be read as a metaphor — the artist fully embracing her identity as the music industry’s beautiful, dirty shame, derided and cast off by critics while her debut album quietly moved 7 million copies worldwide. Or we can read it as autobiography, the experiences of the woman born Elizabeth Grant bleeding into the Lana Del Rey mythology like a red bra through a translucent collared shirt. Each of her aesthetic choices — the girlish pout, the baby-doll register, the “It’s you, it’s you, it’s all for you” pathology — are the lamentations of a woman forced to define herself through stolen moments and dark corners. It’s a dangerous line to take, to cop to being a home wrecker. No one pities the mistress, and Del Rey knows this. But the singer isn’t concerned with forgiveness. Half confession, half redemption and written from a safe remove, Ultraviolence is, instead, a medallion of recovery.
 
“I’m finally happy now that you’re gone,” she sings on opener “Cruel World,” flexing her muscular lower register over steady tom-tom rhythm. “I did what I had to do, I found another anyhow.” Album closer “The Other Woman” is even more on-the-nose: “The other woman will always cry herself to sleep/ The other woman will never have his love to keep.”
 
For a singer repeatedly taken to task for her lack of authenticity, on Ultraviolence Del Rey comes across both honest and unguarded. Produced by the Black Keys’ Dan Auerbach (that’s his indelible wah-wah on “West Coast”) the album strips out the sonic Webdings that plagued Born to Die (the incessant “Blue Jeans” “Shyah!” sample; the self-conscious boom-bap of “Diet Mtn Dew.”) Instead, the album evolves the full-band sound of her Rick Rubin-led 2012 Paradise EP into something raw and unadorned. It’s also steeped in pop history: The symphonic guitar work on “Cruel World” summons visions of Magical Mystery-era Beatles. The fuzzy saxophone drawl on “The Other Woman” recalls Gene Pitney’s “Town Without Pity.” And a more oblique reference to the classics appears on the title track, which cribs lyrics from the Crystals’ “He Hit Me (It Felt Like a Kiss)” — the ’60s pop-progenitor of negative feedback loops in dysfunctional relationships.
 
And there are subtle nods to her own past: The strings on Ultraviolence‘s title track reuse the chord progression that opened “Born to Die.” The synth glide in the last minute of “West Coast” scans as a cute wink at Born to Die‘s hip-hop non-sequiturs. “Brooklyn Baby,” with its arch references to rare jazz records and hydroponic weed, and “Fucked My Way Up to the Top,” with its tongue-in-cheek title, come off like fuck-yous to the canon of think pieces written in her wake. Del Rey, as this writer was once assured, “reads everything.”
 
So, she’s most likely caught wind of the backlash to her recent open-for-interpretation sound bite about feminism. “For me, the issue of feminism is just not an interesting concept,” she told The Fader. “Whenever people bring up feminism, I’m like, god. I’m just not really that interested.”
 
Indelicately put and poorly timed, the quote got her in hot water, critics’ hands already full with young Hollywood star Shailene Woodley distancing herself from the F-word. But let’s be fair: Del Rey’s personal indifference and Woodley’s feminist dodge — “I think the idea of ‘raise women to power, take the men away from the power’ is never going to work out because you need balance,” she told Time — are two different opinions. Perhaps Del Rey, who’s been held over the fire for perpetuating anti-feminist ideas is done with being forced into a conversation she never sought in the first place, just as she’s over her Million Dollar Man.
 
Or perhaps she’d prefer to let her music speak for her. Because taken as a whole, Ultraviolence is her most feminist work to date. It presents, without judgment, the ecstasy and agony of one woman’s choices — a bird’s-eye view of a woman suffocating, then escaping from under the weight of her man. She treats her former self tenderly: “The Other Woman is perfect where her rival fails,” she sings. But that was then. Now she’s got a cool boyfriend in her band, “but he’s not as cool as me.” And she’s out for money, power and glory. Hallelujah

I hate MTV VMA 
Always the same... and this year - "the queen Beyonce" - WTF? Queen?
 
And many of disgusting people like: Usher, Ariana Grande and 5 Seconds of Summer       

Wait, why does it say she's 27? How long ago was this interview... I mean usually when magazines fuck up her age it's at 28, but 27?

I hate MTV VMA 
Always the same... and this year - "the queen Beyonce" - WTF? Queen?
 
And many of disgusting people like: Usher, Ariana Grande and 5 Seconds of Summer       

West Coast wasn't a radio-friendly song, lbr.
 
Ultraviolence is a radio-friendly song, yes, but it's being released at the wrong time of the year. It's late summer and Brooklyn Baby is one of the most positively received songs of the record and would ne the most befitting single choice due to it's summery vibe.
 
In my opinion that song along with MPG is the most radio-friendly. It has a catchy chorus and the overall vibe of the song is similar to SS, which was a hit in Germany and other parts of Europe. MPG is very close to most of her BTD stuff and it's easy to sing along to. I also think that eventhough they're bonus tracks that Florida Kilos and Black Beauty could make good singles as well.

Its the only song on the album other than West Coast that sounds like radio may play it, so it's certainly an obvious single.....but i find the song a bit dull. 
 
Shades of Cool should have been single #2, it was well received and has a gorgeous video.
 
x.

Lana Del Rey, the sad indie singer   Depressives songs and a blasé look, the american singer became a popstar and opened doors for another girls that may be considered "different" in the musical scenario. The american singer have 28 years, and have a lot of qualities. She is beautiful, famous, have a big crowd in her performances at festivals and have some special fans like: Kim Kardashian, Katy Perry, Daniel Radcliffe and David Lynch. Talking about Lana and Kim, the popstar was invited to sing at the Kardashian's wedding earlier this year. And there's some rumors that say that George Clooney asked the same favour and he will pay any price to have the indie singer doing a performance at his wedding. Besides her popularity, Lana recently said that wishes that she was already dead. Her beautiful lips, sad/blasé eyes, and a deep voice made Lana a success. In 2012 with her album Born to Die, her second album in a studio, sold more than 7 millions of copies all around the world.  Ultraviolence, released in june, is following the same way, in a month, the album already sold 300.000 copies on USA   “I was a risk for the record label. It wasn't a good investment. But I'm persistent and I never gave up”
VEJA: Your road to the fame was long and was ever changing. How do you feel about being the center of the attention?   LANA:It's good to see my style and see how things are working good. I've performed a lot of times and the experience of doing a show in different places is great, they fit with the changes of my mood . The energy that my fans gave to me are great and scares me at the same time. It's always a surprise. Even having some experience, I feel kinda nervous when I see the crowd. VEJA:Do you still have some issues about having a big crowd? 
LANA:No, especially because I'm not nervous about my album. Now that it's finished, I can give more attenton to my shows. While I'm touring, I can't be creative. But now I feel that it's all okay, it's a part of the job.
VEJA: When you became famous, a lot of rumors about you were spread, saying that your style is fake . How do you deal with this? 
LANA: It's easy to judge somebody when you do not know them and know how their personal growth happens. When a singer gets bigger, it's hard to say if they care about their music and if they deserve their success. I'm gonna still doing my work and I'll became more and more mature. On set, I do not have a lot of people helping me and I do not have somebody that makes me do stuff that I do not like. 
VEJA:If your style wasn't created, it probably have bothered a lot o people because your style is different compared to the actual pop music scenario.Does somebody tried to change your style to fit the mainstream pop style?    LANA: Only at the beginning of my career. I was a risk for the record label. It wasn't a good investment. But I'm persistent and I never gave up. I felt great when "Video Games" became a hit. I really like that song and the version that became famous was the version that I wanted to everybody hear.I played it for like a year and my actual record label liked the song, but they were kinda worried about it because it was too slow.   VEJA:Dan Auerbach produced Ultraviolence. How this work begun? Are you a fan of The Black Keys?
LANA:I know the work of The Black Keys, but I didn't knew Dan very well. We had a great work together. We've decided to make the album while we were knowing each other in NY. We were having such a great time with a couple of friends and he looked at me and we said "Why don't we make this album together?. I realized that he was the producer that I was looking for. He put on some electric guitars and a 70's style on the album. He also uses the same weird references that I use. Also, it was good to change the producer, I've worked with the same guy for like three years.
VEJA:With a several leaks, your album was prejudiced. How do you felt about do the same work again? 
LANA:It was prejudiced, but it was a blessing because I hate those songs. It was basically songs that I wrote for some singers or songs that I was working at, so, when these songs wew leaked, I've realized that I do not like how they sounds like, so I've started all over. When I thought that I had finished them, I met Dan. It was wonderful, it was I met this new sound that I've fell in love.  
VEJA:Why "Ultraviolence"?
LANA:It's my darkest album, even with some romantics elements, I do not like to hear some songs, even if I've wrote them. I do not feel okay to listen some tracks, but I feel great when I listen to anothers. Make this album was hard in some moments because if it's not natural, then I do not work well. The time was almost ending, so I had some anxiety crisis, I do not work well under a lot of pressure, but at the end, everything worked in a good way.
VEJA:So you had some anxiety crisis while you were doing your album?
LANA: Yeah, I had the feeling that my album would not become a big hit. I really try to not be sad and be a pessimist, but that's who I am. I couldn't like anything that I've wrote for the album, so, I begun to tour and my fans made me feel more confident. In the first week, I realized that it is what I want to do for the rest of my life. It was great, because I was afraid to sing again, but, this year made me feel confident about still singing
VEJA:Are you okay now?
LANA:Absolutely. I'm really excited and I love "Ultraviolence". I was really worried and I wanted to write something that I'd like to, because everything in my life was complicated. Music is the only that was really stable to me. I wanted this album to be perfect because I've worked so hard on it and I'll perform the songs at my concerts.
VEJA:Your "visual identity" and your videos walks besides your musical style. When you write a song, do you think about how the video will be?
LANA:That's for sure, I always think about the history that influenced the song and how it get connected to what I've wrote. I'm lucky because I've always worked with great directors like Yoann Lemoine and Anthony Mandler. We have a great and unique connection. I've alway wrote the video concept for they. I think that it was kinda boring for they, probably that's why they do not work with me anymore. But the magic is that at the end, everything is like I was thinking about, and it's pretty hard to happen. That's the opposite control that I have at my personal life, I've showed every detail to the directors and they've made a beautiful work. 
VEJA:Do you have the same cares with the album artwork?
LANA:Yes, I do. I do love to see the progress of the artwork. For "Ultraviolence", I've worked with Neil Krug, he changed the way that I've seen some stuff. He have transformed polaroids into perfect portraits for my album. For me, the artwork helps to give the album some individuality. So, when I saw the artwork, I've started to see "Ultraviolence" as it is, like the story that it is. The story begins with a electric guitar solo that Dan made in "Cruel World", the first song.
VEJA:You've moved from NY to LA during the process of creation of the album. How this change influenced at the album?
LANA:I was living in London for some time and I moved back to USA. So, I've moved to California, I also lived in NY for several years, and these years influenced me to write "West Coast". In "Broolyn Baby", I sing about Brooklyn, as the title suggest. Well, I could bring all my worlds to a album. That's great and makes me happy.



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Sorry for the several mistakes! I'm kinda sleepy, but I've tried!

From their website, "The New Inquiry is a space for discussion that aspires to enrich cultural and public life by putting all available resources—both digital and material—toward the promotion and exploration of ideas." They dedicated a whole, 24-page issue to Lana, and it's actually very interesting! Different essays discuss the appropriateness of Lana's inclusion on the Maleficent soundtrack, her glamorization of Americana as a lie, femininity, whiteness, and especially Ultraviolence. On the whole, it's pretty positive, though--my favorite is "The Fake as More," which focuses on her image. It's free!

 



 

Source: http://thenewinquiry.com/features/ms-america/

YESSSSSSSSSSS!!!
 
I thrive off of the questions that ask about certain songs and what mindset she was in when she wrote them. Bravo to the interviewer for actually being interested in the music.
 
I will say that I wish we could just move past the fact that she's a highly criticized artist. That's well-known at this point and it probably drags her down when she's reminded of that all the time. She needs to know how interested people are in her songs and creative process! Love the short PWYC anecdote. 
 
My favorite part of it all is that her goal is to create music that fits in with the stuff she enjoys listening to. I totally get that from Ultraviolence and her describing it like that brings a new layer of enjoyment to listening to the record.