Kommando

So far everyone's proven to be a tasteful individual !!

bartender 4
guns and roses 5
brite lites 6
jon batiste interlude 3
breaking up slowly 5
take me home country home 5
for free 5
beautiful 5
judah smith interlude 6
groupie love 6

love everything I read here. I guess pre-BTD material would be interesting to study, though I don't think it is as spiritually infused as some of her later work, and I'm only familiar with AKA and her accoustic stuff. I'm not educated enough to develop on the whole soul/ego reccurent theme, but I think it has always been, in some degree, present in her work. Romantic relationships weren't used as metaphors like her more recent work : the whole thing seems to be more focused on establishing her identity and values, as well as her relationship with the inner and the outside, which lead up to this "inner world" she's talking about, ther relationship with God. I guess it also created a new form of dialogue between her and her men, which put the emphasis on their relations and the "ego/soul" discussion, whereas in her oldest songs, especially in AKA, love affairs seemed to be more of a platform for her to express images and visions of herself, name-dropping even more cultural references, guys disappearing behind stereotypical images.
 
Her interest in time (proeminent, as she's about to release a song based on Burnt Norton), is also visible in Lana's first works : the profusion of names, references to places, people, countries, the abundance of nicknames she gives to her characters and to herself, the collisions between autobiographical and completly fictionnal events or feelings... and not to mention the numerous musical influences on the record from psyche americana to some electro beats on "Brite Lites", create this "time free" haze. Nothing and everything is true and a fiction at the same time, frozen in a mix of movement and stillness ; always possibilities, dreams, juxtaposed to real thoughts and stories. Even AKA's title, while being what it is for artistic and commercial motives, is another proof of the abstract notion that is Lizzy's self in the record. This is the place  where her music got really soulful, with her experience of deeply emotional or even religious-like snapshots, like in "Oh Say Can You See" or obviously in "Pawn Shop Blues" and "Disco", where she tries to establish her relationship with God. At the end of the whole discussion, she comes up with her prime ideas about herself and the world, which she uses now in her new records.
 
Some of her main musical inspirations, especially Cat Power in her early days, share this spiritual quality in their songs and imagery, but I think she also creates, kind of consciously, the strongest oxymoronic pact (idk how to translate it properly in English, but it's basically autofiction) that I came across in modern popular music, sending mixed messages about her songs not being that serious and deep while making 10mn long "autobiographical" videos about her ambigious past using cultural and biblical references. It enhances the cult quality that's part of her image as a pop music figure, and ends up being another bit of her ethearal personnality.

I would also say, because she's been referencing the Midwest/her country life a lot recently with a tinge of nostalgia (and even in songs like I Talk to Jesus), "our place" is actually the place she used to live there that we have a few photos of, when she was still Lizzy Grant (the whole Kansas/Arkansas location situation). She lived there with some guy and I think he's one of the person she regularly references. So she's like let's pierce through time and space and come back to our place even though it might be gone (what the fuck happened here ? Where are all the Christmas lights ?)

He was an eccentric jazz artist with a small but cult following which allowed him to pursue a lifelong career despite all his idiosyncrasies. So maybe she harkens back to her Lizzy Grant days : yes it felt small (the budget, the scope, the audience), she had a very specific aesthetic which made her an original but it was on her plane, she had it under control every time...

SCREAMING

No super deep analysis here, but to me, she's comparing herself to the forgotten tunnel. Her inner beauty/personality is like the "mosaic ceilings, painted tiles on the wall" of the tunnel, but no man has wanted to explore her inner beauty/personality. They suppress it instead, just like the walls that form the structure of the tunnel but are covered with the mosaic painted tiles on the inside ("Handmade beauty sealed up by two man-made walls"). 
 
No men have cared enough to actually get to know the real her. She wants to know when it's her turn for a man to actually love her for her ("When's it gonna be my turn?") The suppression and apathy around her true self causes her to lose confidence in herself, relying on sex and his supposed love to make her love herself again ("Fuck me to death, love me until I love myself").
 
The woman in the second verse feels like another metaphor for Lana and the tunnel. She sings Hotel California, not because she enjoys it, but because she thinks it's what men want from her and will lure them in enough to want to know her inner beauty. 

DONT FORGET ME…
like the tunnel under ocean boulevard…..
DONT FORGET ME…..
 

i think lana is the tunnel, with her beauty n worth dimmed by 2 man-made walls (maybe the men in her life, maybe the public). the act of releasing the song itself is a way to ensure that no one forgets about the the tunnel (lana) 

This also sounds like she's describing a coffin. As all living and functioning things meet their end in the ground and are eventually forgotten.
 
Don't forget me 

I’m a midwestern girlie and I literally just went to the A&W chain for lunch today  Her midwestern chokehold hasn’t fully died yet

mood board
 

idc about the pastor sermon cuz it gives me ethel cain's family tree intro and that's such a good song. i'll still be streaming the interlude. 

I'm shaking I can't even type placing me pre-orders now x

Welcome to the Did you know that there’s a tunnel under Ocean Blvd Pre-Release Thread
Annual Discussion & Meltdown!
To be released March 24th, 2023
 
Pre-Order Here


Tracklist:
1. The Grants
2. Did you know that there’s a tunnel under Ocean Blvd 
3. Sweet
4. AW
5. Judah Smith Interlude
6. Candy Necklace
7. Jon Batiste Interlude
8. Kintsugi
9. Fingertips
10. Paris, Texas
11. Grandfather Please Stand On The Shoulders Of My Father While He’s Deep-Sea Fishing
12. Let The Light In (feat. Father John Misty)
13. Margaret (feat. Bleachers)
14. Fishtail
15. Peppers (feat. Tommy Genesis)
16. Taco Truck x VB
 
Merch & Media Thread
Single Release Thread
DYKTTATUOB Lyrics Thread
Album Photoshoot Thread
Album Artwork Thread
Read the Pre-Pre-Release Thread
 
 
 
Previous OP Information:
 
 
 
Note: in the event that any audio leak from the record occurs even in snippet form, anyone who posts a direct link to leak, gives hints on where to find it, offers a link through DMs, etc., will be permanently banned. No exceptions.
Those who request a link to an audio leak will be warned and put on mod queue.
Please do not begin the Post-Release Thread until the album is officially released. I will create one for you all.
& Finally, for the benefit of others who wish to wait for the official release before knowing any spoilers, I recommend putting any spoilers about the album gained through listening to an audio leak (lyrics, thoughts, etc.) within our spoiler tag function.
If you have any questions, please don't hesitate to ask me or another moderator.

it has a similar vibe to If You Lie Down With Me - does anyone else think that?

Lana Del Rey has dropped physical pre-orders for Did you know there's a tunnel under Ocean Blvd! Merch to follow.
 
LDR Store: USA ● UK/EU ● FR ● AUS ● CA ● DE ● MX ● BR ● IT ● ES ● ZA ● SEA ● NL ● BE



 
 
 
Retail Exclusive Dark Pink Vinyl - Target (USA) ● HMV (UK) ● Fnac (FR) ● Fnac (BE) ● Fnac (PT) ● Empik (PL) ● HHV (DE) ●  Plato Mania (NL) ● Discrepancy Records (AUS) ● JB Hi-Fi (AUS)

 
 
 
Amazon Exclusive Pink Vinyl - USA ● UK ● FR ● BE ● DE ● IT ● JP ● AUS 

 
 
 
Indies Exclusive Green Vinyl - Local Retailers (USA) ● Black Sheep (USA) ● Vertigo Vinyl (USA)  ● Drowned World Records (USA) ● Townsend Records (USA) ● Rough Trade (UK) ● Banquet Records (UK) ● Vinilo (UK) ● Resident (UK) ● Revived Vinyl (UK) ● Juno (UK) ● Discrepancy Records (AUS) ● Discoteca Laziale (IT) ● Fnac (BE) ● HHV (DE) ● iMusic (DK) ● Raita (FI) ● Bengans (SE) ● CDON (SE) ● Flying Out (NZ) ● Records on Vinyl (NL) ● Plato Mania (NL)

 
 
 
Retail Exclusive CD - Target (USA) ● HMV (UK) ● Fnac (FR) ●Fnac (BE) ● Fnac (PT) ● Empik (PL) ● JB Hi-Fi (AUS)

 
 
 
Spotify Exclusive Picture Disc Vinyl - USA ● UK ● CA ● AUS

 

Well that escalated quickly

1st time in 5 years she didn't write a love song

He was an eccentric jazz artist with a small but cult following which allowed him to pursue a lifelong career despite all his idiosyncrasies. So maybe she harkens back to her Lizzy Grant days : yes it felt small (the budget, the scope, the audience), she had a very specific aesthetic which made her an original but it was on her plane, she had it under control every time...

love everything I read here. I guess pre-BTD material would be interesting to study, though I don't think it is as spiritually infused as some of her later work, and I'm only familiar with AKA and her accoustic stuff. I'm not educated enough to develop on the whole soul/ego reccurent theme, but I think it has always been, in some degree, present in her work. Romantic relationships weren't used as metaphors like her more recent work : the whole thing seems to be more focused on establishing her identity and values, as well as her relationship with the inner and the outside, which lead up to this "inner world" she's talking about, ther relationship with God. I guess it also created a new form of dialogue between her and her men, which put the emphasis on their relations and the "ego/soul" discussion, whereas in her oldest songs, especially in AKA, love affairs seemed to be more of a platform for her to express images and visions of herself, name-dropping even more cultural references, guys disappearing behind stereotypical images.
 
Her interest in time (proeminent, as she's about to release a song based on Burnt Norton), is also visible in Lana's first works : the profusion of names, references to places, people, countries, the abundance of nicknames she gives to her characters and to herself, the collisions between autobiographical and completly fictionnal events or feelings... and not to mention the numerous musical influences on the record from psyche americana to some electro beats on "Brite Lites", create this "time free" haze. Nothing and everything is true and a fiction at the same time, frozen in a mix of movement and stillness ; always possibilities, dreams, juxtaposed to real thoughts and stories. Even AKA's title, while being what it is for artistic and commercial motives, is another proof of the abstract notion that is Lizzy's self in the record. This is the place  where her music got really soulful, with her experience of deeply emotional or even religious-like snapshots, like in "Oh Say Can You See" or obviously in "Pawn Shop Blues" and "Disco", where she tries to establish her relationship with God. At the end of the whole discussion, she comes up with her prime ideas about herself and the world, which she uses now in her new records.
 
Some of her main musical inspirations, especially Cat Power in her early days, share this spiritual quality in their songs and imagery, but I think she also creates, kind of consciously, the strongest oxymoronic pact (idk how to translate it properly in English, but it's basically autofiction) that I came across in modern popular music, sending mixed messages about her songs not being that serious and deep while making 10mn long "autobiographical" videos about her ambigious past using cultural and biblical references. It enhances the cult quality that's part of her image as a pop music figure, and ends up being another bit of her ethearal personnality.

He was an eccentric jazz artist with a small but cult following which allowed him to pursue a lifelong career despite all his idiosyncrasies. So maybe she harkens back to her Lizzy Grant days : yes it felt small (the budget, the scope, the audience), she had a very specific aesthetic which made her an original but it was on her plane, she had it under control every time...

He was an eccentric jazz artist with a small but cult following which allowed him to pursue a lifelong career despite all his idiosyncrasies. So maybe she harkens back to her Lizzy Grant days : yes it felt small (the budget, the scope, the audience), she had a very specific aesthetic which made her an original but it was on her plane, she had it under control every time...

I think she might have been a bernie girl earlier this year, i mean she's litteraly surrounded by bernie stans : Chuck the butch queen, her gay producers, Jonathan the veggie, Father John Misty...

There's no way any of this is real and if it is she's not going to deliver the album will be out december 5 2021 titled Insta Thots on the Pier