sjatib

She consciously avoided every high note on the song on that livestream, except the last ones -where it would have been too unforgivable even for her fans-, where she failed. Don't know what she's doing.

As you say, that lyric represented the mindset she had when writing the song, and I think it kind of spread all along the album. The kind of tired vibe is there. And fully agree with you that she isn't over, sure she'll come with amazing things under her arm soon.

We were talking about her identity and how being on the cultural industry surely is a huge challenge when it comes to keep a solid vision on one's own creation. Lana herself said to maybe be "burned out after all" on The Greatest, where she discusses herself this topic. The intention was to bring the matter to discussion, cause it's a very interesting one, not to made ethical judgments about Lana or her output. Even if I found this last album less interesting than her previous ones for most of it, I wouldn't say it's worse, cause there's no way to objetctively approach to it, just giving my views on it.

Couldn't agree more with you about the identity thing. It's a very fucked off topic when it comes to any person, as it's actually nothing but some kind of unstable cultural construction, and it has become more and more questioned for everyone with the historical development of last century, I'd say. Being an artist, when all your life oscilates towards your own identity and vision of the world, the accusations of inauthenticism are always levitating around you, and the dynamics of the cultural industry -more even being a woman- have to burn you on that side very hardly. The way Lana has played with this stuff all the time on her own favour is what I think that made her and her output such incredibly interesting. Let's hope she's not actually that "burned out after all" and will be able to bring amazing art for many years, as I'm sure she will. Maybe NFR is kind of an inflection point in her artistic development, as it shows as a big rupture with what came before it.

Feeling in a similar way about it. Even worse. Last night a friend of mine and me were wondering about how the hell the album has gotten the HUGE acclaim that the media are giving it. It's not a bad album, but it has a lot of obvious flaws, a composition and songwriting thats quite weak in many of its songs (can't understand how Pitchfork has said that she's "the best next american songwriter", really can't, even if I love her work as I do), a production that has evident and almost begginer kind of failures... Maybe I'll feel different about it in some years, but now I'll save the highlights it has -mostly the first half of the album, and then Bartender and Happiness, from my perspective - and go to listen other things. I don't get the point on keeping the hype, and yes, she's behaving in a very weird way (not necessarily in a good one), and mostly on the artistic side, which is the only one I care about when it comes to her music.

Can't decide about my "top 10", actually, so will just put some albums I deeply love in no order: - The Empyrean - John Frusciante -Wild Mood Swings -The Cure -A Love Supreme - John Coltrane - Enchant - Emilie Autumn - On Fire - Galaxie 500 - Honeymoon - Lana del Rey - Tidal - Fiona Apple - Corinne Bailey Rae - Corinne Bailey Rae - No other - Gene Clarks - Froot -Marina and the Diamonds

May this be the most interesting thread here! Will think about the ranking and come again with an answer... Such a difficult thing to do!

It sounds as when some 8 year old asks "why they don't do more money so no one's poor?" Anyway, she's improved miles from her beginnings when surely she didn't even wonder about some subjects, or not in a political frame, at least. And it's always good that people with such a big media influence as hers propose sociopolitical conflictive topics for discussion, even if from such a basic approach. I saw somewhere it was supposed to air on september 9th

I think all of the song (NFR) has a lot from Fiona. In particular, from Never is a promise and Love ridden. But it feels for me more as an homage than as any other dirty thing (plagiarism),

That fucking song...Can't listen to it without trembling

I guess you'll have to laugh for whole a three-part video, then I'd say she's just pretending... Why if not should Chuck obviously avoid to film her hands while she plays?

You should go and check Mondosonoro, a spanish music magazine that gave BTD a 5, Ultraviolence a 7, Honeymoon a 6, LFL a 7 and NFR an 8. With the most poorly written reviews I've seen about her work, also.

Now the critics just have to go again through her whole discography and make the good reviews they sould've done at the proper time.

The prices are insane for anyone who hasn't got a lot of money. But her and her team know that she has a bunch of very accomodated fans that will be able to absorb all the expensive as fuck merch she'll put out.

I thought I was the only one not hyped about that song. Find it quite mediocre, both instrumentally, vocally and production wise.

I think that both halves of the album are good, actually -except from IMF, GBA and Groupie Love, maybe, which I cant stand-. The problem for me was that it didn't feel like a whole. It could have been split in two, but done in a good way, through an interlude, or just dropping a double album. One more pop oriented (Love, Lust for Life, Coachella -yes, I will get staked for this- Summer Bummer were great tracks for that purpose) and one folk-acoustic oriented, with it's correspondent NON TRAP production. It may have worked, I think.

I think that the thing that ruined in some way LFL was the production it got. Apart from some songs that didn't fit in the album -from my perspective- , i think that it collected some her most beautiful songs to date, also. It could have been an incredibly beautiful and dreamy album if they didn't give that horrible trap treatment.

Just found this on the web and sure you'll enjoy -best part of it is the flying Duke's belt-

I think I read somewhere that Ultraviolence was formerly going to be called "Black beauty", but she decided to change the title when the song leaked.

It's amazing how many musical references are over the album... Didn't know about the one you are pointing, p.e. But found out that the "dream a little dream of me" lyric comes from a The Mamas and the Papas song, which comes to join the well known "California dreamin'" she also put on the same song. She has quite a vision of the place she's at on the musical history and she's aware of the things she's channeling also. Love that.

I found -nearly a year ago- that "crimson and clover" were references to drugs also, but don't remember exactly to which ones... Anyway, it makes sense in the context of the song and in her own lyrical universe.

I could agree on this if the hypothetical continuation was well executed. I think that there were many highs on NFR but the album itself suffered from a huge clumsiness as a whole... There was some magical vibe above it, but it didn't actually worked as a full artifact. I think that i intuit where they wanted to go, or which path they were trying to follow, and if it was done in the outstanding way that it deserves -and not as on NFR, as much as I liked the album with its many flaws-, i'd be here for a culmination of that vision!

Hey. I read someone said that there had been some mastering changes on the album versions of MAC and VB. I noticed some subtle changes, also -mostly drums and emphasis on rythm pattern on MAC and some changes on electric guitar towards the end of VB-, but my technical knowledge about the matter is under zero. Anyone who knows better could point on which changes where made? Thanks in advance!

Her best cover yet. A big wink to her fans.

I don't even think that's a matter of perceiving her surgeries as done to "serve the male gaze" -sexually, I suppose we're referring- . It has to do more, I think, with the imposition of a certain model of woman that has to avoid the processes that all human beings go through. The negation of their nature, as I said, as a condition to be accepted on certain social positions, more when they involve power of diverse types (cultural one, p.e).