Kommander

Hi beloved phags - I have been off the Lana loop for the past three weeks (going through my finals) ; whats up, what is the teaaaaaa

Yeah right, especially considering how ambiguous and subdued the song is, with its mixture of happiness and paranoid anguish... But I have learned that video-wise she's not always the most subtle, compared to how she expresses herself in her music or her taste in photography.

the COCC standard cover is my favourite album cover of hers

I am still not over the production on the title track... The arrangements are so INTRICATE !!

Because they're hinting at the songs not being IT but they can't say it because the 2012-13 stans have regained hegemony in the discourse like a month ago for whatever reasons

is this what the Prom Song stans had to go through when Mariners dropped and they had to pretend being into actual instrumentation

Conceptually it's everything I've ever wanted from her and I never thought she'd go so free flowing in her lycism and just mixture of sounds genres etc etc. Execution-wise I'm not that certain the results are up to par with what I was hoping but anyways

idk i feel with COCC's release and the subsequent announcement of Rock Candy Sweet, a string of words which sounds pop and playful, alongside the appearance of synths in the BB snippets, strong feelings about the evolution of her sound that had been repressed since NFR are now out in the open. Which I think we should repress them again !!! enough wid this H8te !!! they will learn and appreciate what is gorgeous instrumentation

anyone who doesnt have an issue with jack????

I get that on COCC the mixing could be criticized, because they obviously attempted to create sound scapes rather than discreet instrumental lines (it's all over the first half of the record). I think they succeeded in it, it works very well on like COCC or White Dress and maybe less so on Dance Till we Die. I get that in some instances it maybe wasn't the best decision (there is some beautiful acoustic guitar on White Dress that we barely get to hear) but then again this is what gives this record its sonic signature, its confident coolness and meditative quality, and I personally like that. I don't get those who talk about a lack of instrumentality or "depth". I think Jack is a great guitar player and I love love how the electric guitars on COCC have this roundness to their sound, like on Wild at Heart. If you contrast his instrumentation with Yosemite or Tomorrow Never Came, you can see that Rick Nowels is also a gifted guitar player, but I think sometimes his arrangements go into autopilot mode a bit ; there is not much variety in the way the instruments are played throughout the song, whereas Jack's lines are a bit more free-flowing and adventurous. It helps keep the audience engaged and it works well with Lana's taste for sprinkling little vocal riffs here and there. If Dean and Jack worked together on BB with Lana I feel the back and forth between the three of them will be for the best !

Id love this shot as a cover tbh

I cannnnnt, last week it was a pop folk COCC-like album, then this website said it was going to be a slowcore synth heavy meditation, then a psychedelic soft rock effort thanks to Ms. Dean's input, and now with that same Ms Dean input it's turned into a trap pop diss album about the industry which Jack hasn't touched - and we've only heard ONE snippet with what is very obviously Jack's piano (and maybe Ms Dean's synths)......................

vhjbdfdf the way this was basically her mug for the COCC era, a serve if u ask me

hmmm.............. so........ what now ?? we're gonna come back every may ? paint our banisters blue ? we're gonna take away our pain ? not send flowers like we always do ? come back to arkansas ? no more candle in the wind bestie ??? be white hot forever ?