SoftcoreBabyface

Tracklist for Endless Summer (Deluxe Edition):
1) It's Coming You Little Bitch
2) Dirty Mouth
3) Azealia
4) I Don't Wanna Die
5) 27 Club
6) Courtney Says
7) Maha Maha
8) Kill The Guardian
9) Sultry Songstress
10) Empty Promises (feat. Release Datez)
11) Passive Aggressive California
12) Mermaid Motel (feat. Azealia Banks)
13) Beach Selfie A Go-Go 
14) 27 Club (feat. Amy Winehouse) [bonus Track]

At last, someone on my page...

I'm hoping she ~finds~ herself vocally with this album, sings in her range, whatever. I really want her to go full out jazz, her voice is suited for it.

I wouldn't expect the sound of BTD to make a return as Lana has expressed mild disapproval of the production because it wasn't 100% true to herself. Also, the next album could be more accessible to audiences but still be genuine for Lana...just look at how well Amy Winehouse's soul album was received or the work of The Black Keys. I think she and Ronson will create something along the lines of Jeff Buckley's Grace. 
 
I love the UV videos, but I agree about wanting more flashy videos. She can still project subtlety in a visually-beautiful manner. 

Look on the bright side, at least she didn't spend a year talking about it as if it were the second coming of god like some other artists have done in the past. Like Lady Gaga for example, talking about Born This Way as if it was going to revolutionize music and we all saw how that went.
 
I don't know why she skimped on promoting it or making videos, but my theory (on the videos at least) is that she probably wasn't given a huge financial push by the label. They weren't excited about her releasing it in the first place; it's a big contrast to her previous work in terms of being accessible. They clearly gave her a huge budget to work with circa Born To Die - visually stunning videos, promotion all over the world... hell, maybe they even chipped some cash in for Tropico (maybe she made that with her own money idk). But clearly there was a lack of support by the label and I've seen this many times when pop artists try to take a risk with their music. And promotional budgets include everything from music videos, to internet ads, to street promotion, to radio deals, interviews, blah blah blah. Lots of behind the scenes stuff.  The label's like - "fine, we'll release it, but we're going to give you a bare-bones budget to promote it, because we feel you didn't give us a top 40 single and we're not sure you're worth a big investment at this point in time." Maybe I'm wrong, idk, but that's what I'm thinking.
 
Add Lana's reluctance to even promote in the first place and there you go. She was probably exhausted from touring for so long and she wanted to take a break. Smart if you ask me. Good artists burn out fast when they succumb to being slaves for record labels. Again, something we see very often. I'm glad she gave us an incredible album at the end of the day - it could have gone so many places visually, but there's always album #3 (#4 if you count Paradise which I do).

What the actual fuck at that tracklist
 
I Know What You Did Last Summer - *dead* ahahaha who can came up with these things...

The fake track lists coming early this time
 
"Every Boy For Herself" killed me.

I'm so exciteed for this omg that's my birthday month. I loved ultraviolnce but I hope this album is a bit different from it. With a new theme (hopefully a positive theme.) I love every song from ultra with a passion but i felt like it was a way for her to express herself and her feelings at the time and I wouldnt know for sure but I think lana has gotten happier lately and back to her independent self. Hopefully the new album will reflect that. And tbh I really just crave lanas bad ass- freedom obsessed side again.

12. Trans-Am

1. MARBLE PRINCESS
2. DADDY (TROPICAL SHIRT)
3. HOW MUCH WOOD CAN MY SIS CHUCK, CHUCK
4. LITTLE RED RIDING HOE
5. HIGH AS A MOFO
6. BOTOX BLUES
7. SONICALLY, VISUALLY, THEMATICALLY
8. F U CEDRIC
9. ANGELS
10. LILITH
11. EDEN

Free spot on my schedule this semester and this is tempting me to sign up for a poetry course so I could absolutely NAIL an essay on Lana's uses of American poets...Homegirl getting me through my degree one class at a time

perhaps Rob wont post anymore, if Lana were to do a remake of Jim Morrisons 'This is the end'..lol..
he'll be scared of her..
(ref- posts above on Rob G)

daddy is a fucking tease 
 
 

The unheard music hidden in the shrubbery,
And the unseen eyebeam crossed,
*for the roses had the look of flowers that are looked at*.
There they were as our guests, accepted and accepting.
 
*= Lana's Twitter bio when UV was released
I'm going to keep reading and analyzing the full poem. The metaphysics degree is being used for the best

The poem begins with two epigraphs taken from the fragments of Heraclitus:
 
The first may be translated;
"Though wisdom is common, the many live as if they have wisdom of their own";
the second,
"the way upward and the way downward is one and the same."
 
The concept and origin of Burnt Norton is connected to Eliot's play Murder in the Cathedral. The poem discusses the idea of time and the concept that only the present moment really matters because the past cannot be changed and the future is unknown.
 
https://en.wikipedia.org/wiki/Burnt_Norton

Time present and time past
Are both perhaps present in time future
And time future contained in time past.
 
 
furtureretro

So you know how Lana has said that in a lot of her songs (like West Coast and Video Games, for example) one portion of the song is based on reality and the other is focused around her inner fantasies… well, I think Honeymoon is another one of those songs...
 
The verses seem to be about reality - her experiences with her lover have a slower instrumentation which could symbolise how reality isn't as grand or exciting as her fantasies. The instrumental intensifies into the chorus, where she sings about a 'honeymoon' with her lover, most likely what she envisions within her head, hence the more complex instrumentation. It's quite fitting the 'dark blue' lines are right before the second verse kicks in, as it shows Lana sliding back into the reality that is life with her neglectful lover.
 
The bridge is almost an amalgamation of reality and fantasy - describing realistic qualities of her lover through deep imagery. Lana then slips back into the chorus again for the last time, which has a very dreamy sound, then starts singing the 'dreaming away your life' lines, which to me, indicates that she is finally acknowledging that she is torn between reality and the world inside her head. The scatting towards the end is a symbol of Lana getting lost within her dreams. She attempts to soften the problems she encounters with her lover by escaping to a world of her own inside her mind, where they are both happy and untroubled, however, deep inside of herself she is aware that dreams do not last forever - she is 'dreaming AWAY' her life. Although she knows that her mindset is detrimental, she can't help but turn back to it every time she remembers that things are not as smooth with her boyfriend as she wishes and dreams about. Honeymoon isn't just a song about being hopelessly in love with a bad boy, it's much more than that - it's Lana explaining how she has created a world within her head she can escape to when no other coping mechanism is enabling her to get by.
 
Anyway, that's just a quick explanation of the summary I've come to after having Honeymoon on repeat non-stop since it came out. Please expand on this if you have any of your own ideas

Best analysis of the song I've read, compliments of Lana's father:
 
Lana Del Rey, Queen of Los Angeles, Cuts Deep Into L.A. Noir http://huff.to/1MggHjo  via @HuffPostEnt

Oh! Hey there! I don't find it odd at all.. I lightweight stalk just about everyone who links their social on here. I am the Queen of Link Juice!! (that's a joke)   

I also wanna say, I fucking love the way she says Boulevard in both verses       

The last lines of the verses, give me this feel, like I really want to hear her repeat the last line in a lower octave at that point.
The same way she sings "dreamin' away your life" at the end. So that would be "we make the rules, & Mr. Born to Lose".
I suppose that pause or space in the song is okay in it's own way but I feel those parts give it the copy/paste feel when the chorus comes in.
I adore the way Lana comes in on the verses "We both know" and how she sings cruise, plus the background vox kicking in all "Lalala" like 
or whatever she's saying there.
 
The way she say "dark blue" is literally the way I imagined her in my head.
 
When she says "but I'm not scared" her vox warbles a bit and she sounds emotional and vulnerable which I love. It's great on that specific line.
 
The Bridge is dope. 
 
Scatting and all that jazz is beautiful.
 
I personally prefer the soundtrack vibe cuz I love ambient tracks and OST, as is. I love slower tempos and a lot of times find faster paced songs give me headaches. I ease my anxiety with Lana's voice on many occasions. 
I LOVE reading what other people are reminded of by this (possible references, and similarities to past work) 
 
Hella excited for whatever's next EEEEE   EEE!!!

Lana often emphasizes the masculine/violent aspect of her lover and the feminine/submissive aspect of herself. She abstracts these aspects from the whole persons and creates a juxtaposition of archetypal masculinity and femininity that she yearns to integrate in a harmonious whole. I don't know if this reflects her own personal imbalance or simply her enjoyment of the sexual union, but her message also has a significance in a society that has repressed femininity by repressing women or by making everybody, men and women, more masculine in the sense of more individualistic, more rationalistic, less intuitive, and ultimately more materialistic and less spiritual. In this wider message she can be seen as a representation of the repressed Femininity itself that seeks to reunite with the reigning Masculinity, both on the level of society and on the level of the average person. 

I don't understand how anyone can say that Lana's music lacks experimentation or variation in sound. The lyrics might not differ much from album-to-album, but the sound definitely does. The main similarities I see rest in the natural evolution between LDR and BTD, which is ironic considering how often ignorant people try to say that she completely switched up her sound between the two albums.
 
LDR: Indie pop/indie rock
BTD and Paradise: Trip hop and baroque pop
Ultraviolence: Desert and psychedelic rock
Huntymoon: Jazz fusion? 

For me tho honeymoon is very different from all she's done before, ya its a torch song, but the production and reveal was so low key