KillKillQueen

Tbh I was so excited when I heard that Lana would call her new album Ultraviolence because I ADORE A Clockwork Orange (if it's possible to adore a movie like that but you get the point) and it would be my fave singer + my fave movie = BEST FUCKING ALBUM. I was already seeing Lana go full droogie on the cover and in the songs.
Then I've listened to West Coast, saw the cover art and GOD, was I disappointed. I love the album, it's not that it makes it worse - but I was hoping for more Clockwork Orange references than only the title.
 
(Don't know if 'unpopular opinion' or only 'no one gives a fuck about that except me'.)

So The Guardian spends the whole review tearing her lyrics and general existence down, barely talking about the songs themselves, only to give her a 4/5? "lol you suck but this album is the shit"?

I'm pretty sure Guns & Roses has changed my life.

On the contrary, he seems too crotchety and bitter to not be well versed in classic dad-rock, and the idea of a highly stylized 28 year old woman appropriating that sound for her "childish, monotone, etc) songs about death, abusive relationships and opulence is upsetting to him. Even when he begrudgingly admits some minuscule thing about the album doesn't suck, he makes sure to attribute it to a man. Also "her vocals make it sound like she just slipped herself a date rape drug" Fucking really? Let's just stick with the benzodiazepine comparisons if we must do the "lol how sedated is this bitch" thing.
 
Even if Lana doesn't see the sexism in some of the critique surrounding her rise, it is there, and it has always been there. 

On the contrary, he seems too crotchety and bitter to not be well versed in classic dad-rock, and the idea of a highly stylized 28 year old woman appropriating that sound for her "childish, monotone, etc) songs about death, abusive relationships and opulence is upsetting to him. Even when he begrudgingly admits some minuscule thing about the album doesn't suck, he makes sure to attribute it to a man. Also "her vocals make it sound like she just slipped herself a date rape drug" Fucking really? Let's just stick with the benzodiazepine comparisons if we must do the "lol how sedated is this bitch" thing.
 
Even if Lana doesn't see the sexism in some of the critique surrounding her rise, it is there, and it has always been there. 

I also have the terrifying urge to get "Ultraviolence" tattooed. Somewhere small and as classy as the word ultraviolence tattooed on you can be anyway.. I also have the good fortune of being seen as a literary type irl, so most people would think I was paying my respects to Burgess and Kubrick (and as a literary type, I kind of would be. I've been in love with the title from the beginning.) Though my closest friends would probably immediately call me out as having an LDR tattoo 
 
Even though I've been set on a tattoo for a while, it isn't this one of course, so I'd have to think against about it for a while.

It's the classic problem of one member of a minority group having the represent the whole group. People get all mad because the album isn't feminist because Lana is supposed to represent the "artistic, sensitive young woman of 2014" She doesn't do that "well" and..we all look bad I guess? And it upsets music writers, especially younger female ones, because they "want" to be able to go to bat for Lana, but they can't because she isn't playing into their Lena Dunham approved truth, and they don't know how to rationalize liking her, but not all the things she's saying. On the other hand, I think a lot of male music writers do defend Lana for all the wrong reasons...
 
In short: Crappy numetal albums don't represent every white male musician working today, so why do all female artists need to be homogeneously safe and empowering? Lana's truth isn't Lorde's truth, and yes Fiona Apple is always going to be a better writer than either of them (because that woman was sent down from the lyrical heavens) and everyone needs to read "How to be a fan of problematic things"

I don't know about you but I'm ready to bring Lanalysis back to life 
 
I'm going to start with Guns And Roses because I think it's quite easy to interpret that one
 
Heavy metal love of mine, he loved guns and roses: the local rockstar type again You didn't want me all the time: that boyfriend played a little game with her Cause you were so much better than the rest of them, out of all the others you were the honest man: naive, little poor baby - she still loves him imo Motorcycle love divine: put me onto your black motorcycle    I wasn't the marrying kind, I should have done it anyway: he was the boy she was engaged with ! today she regrets that they didn't marry, so again --> she still loves him We should have left Las Vegas and then began again: so they broke up in Vegas after they had traveled 2 hours to get there, something really serious must've happened Detroit ???: did Lana ever mention Detroit ???, it takes much longer to drive to Vegas from Detroit btw Back to the promised land: she wants to go back to the time when she still believed in their relationship I can feel it coming in the air tonight: maybe she had already feared that they would break up before they actually did because a fight turned out to be quite bad  I can see you bathing in the summer light: they are on a hot location (Las Vegas), it seems like she observes him and still admires him even though they don't talk anymore You got game boy: I don't get it, I just don't get it  as a conclusion I would say that Guns And Roses is about Jimmy. he fits into the entire rock theme and we've already discussed before that Lana adored him as a lover but also a musician while he saw just another fangirl in her. there are also many Yayo references in it which make me neglect the fact that you can't find alcohol or drug related lines even though it's a Jimmy song. Like I mentioned many times before I can't get rid off the thought that Lana still loves Jimmy because he reminds her of dead K.

It's the classic problem of one member of a minority group having the represent the whole group. People get all mad because the album isn't feminist because Lana is supposed to represent the "artistic, sensitive young woman of 2014" She doesn't do that "well" and..we all look bad I guess? And it upsets music writers, especially younger female ones, because they "want" to be able to go to bat for Lana, but they can't because she isn't playing into their Lena Dunham approved truth, and they don't know how to rationalize liking her, but not all the things she's saying. On the other hand, I think a lot of male music writers do defend Lana for all the wrong reasons...
 
In short: Crappy numetal albums don't represent every white male musician working today, so why do all female artists need to be homogeneously safe and empowering? Lana's truth isn't Lorde's truth, and yes Fiona Apple is always going to be a better writer than either of them (because that woman was sent down from the lyrical heavens) and everyone needs to read "How to be a fan of problematic things"

It's the classic problem of one member of a minority group having the represent the whole group. People get all mad because the album isn't feminist because Lana is supposed to represent the "artistic, sensitive young woman of 2014" She doesn't do that "well" and..we all look bad I guess? And it upsets music writers, especially younger female ones, because they "want" to be able to go to bat for Lana, but they can't because she isn't playing into their Lena Dunham approved truth, and they don't know how to rationalize liking her, but not all the things she's saying. On the other hand, I think a lot of male music writers do defend Lana for all the wrong reasons...
 
In short: Crappy numetal albums don't represent every white male musician working today, so why do all female artists need to be homogeneously safe and empowering? Lana's truth isn't Lorde's truth, and yes Fiona Apple is always going to be a better writer than either of them (because that woman was sent down from the lyrical heavens) and everyone needs to read "How to be a fan of problematic things"

This is a great interview, wow. One of her best, and I'm really glad she seemed to be able to open up for such a hugely read publication. This interview is going to be an important one during the album cycle, and when reviews start coming in for UV. I loved that they got her age right, (mostly because people have all these silly theories about the one year difference when it's likely that it was a mistake made in one of her first "real" interviews in the past that people stuck with) I loved that she talked about how sarcastic MPG is supposed to be, and that she expands on the feminism thing, actually admitting that she doesn't really know anything about it (as opposed to tay tay swifting it or Shaline Woodley "I just love men so much, how could I possibly be a feminist" nonsense) A+ Lana

We..Generally don't. A lot of people hear about her degree and think she knows something about astrophysics or something I think.
 
Tbh I thought Fordham would have a much different sort of metaphysics program.. but wasn't she a philosophy major who concentrated in metaphysics? So there was a lot more "what if" than "what is" if you know what I mean.

I knew this would be exactly what this video looked like 

Original source here

 

Talking to Lana Del Rey about her music is like trying to grab smoke with your hands.

Her contemplative nature makes her muse on tangents, from Elon Musk to the Jesuits to the Laural Canyon sound of the ’70s when trying to put the meaning and inspiration behind her songs into words. All the while, she remains open and honest.

During a sit-down interview in a quiet studio at KROQ in Los Angeles (a Radio.com station) Del Rey’s demeanor in person was disarmingly relaxed and quite charming. Some critics have been quick to dismiss her as an inauthentic fabrication, but as she talked about her new album Ultraviolence (due out June 17), she came across as someone in complete control of her music and rapidly accelerating career.

~

How did the album come to be calledUltraviolence?

I think the album was called Ultraviolence before I even had the songs. That’s because I just really love words. I’m kind of inspired by just a one-word title. For this one, I had a motif of hydrangeas in mind. Mainly because these flowers I love are in shades of blue and violet, and when I was talking to [producer] Dan [Auerbach of the Black Keys] about inspirations and color tones, this sort of high violet vibration was on my mind. Maybe because blue is connected with jazz and also sorrow.

What inspired the album’s first single, “West Coast”? It definitely expands the dimensions of your sound.

“West Coast” as a demo sounded really different, and I never felt like it got where it was supposed to be until I met Dan Auerbach. I was telling him that I was really interested in…that my heart was in jazz, and my mind and my roots were in jazz and that I wanted to make a record that was sort of this mix of beautiful jazz undertones and a West Coast fusion, kind of inspired by the Eagles and the Beach Boys and this sort of Laurel Canyon revival thing that was happening in the ’70s. So I went to Nashville and he reproduced “West Coast” and yeah, I don’t know…I loved it.

Dan said that everything on the record, all the songs have this kind of narco-swing. So whereas the beat and the verses on “West Coast” were really direct, the chorus naturally slipped into this half-time beat. I just remember everyone at the label being like, ‘God, it’s getting slower at the chorus?’ And we were like, yeah!



On your most recent U.S. tour, one of the highlight of the shows was when you would go out into the audience to meet people, sign autographs, take selfies and accept gifts. What inspired you to have such intimate moments with your fans during concerts?

I mean, it’s definitely different than what I ever expected a tour would be, if I even was lucky enough to tour, you know, in my head when I was imagining what I’d maybe be able to do. I was a shy performer for years. I never really dipped into that well of excitement that the audience brought, not until I went to Europe last year for my four-month tour. I think when things are more difficult personally, you find yourself genuinely turning to the audience for support. It’s not something that I thought I’d ever do, so yeah, it is overwhelming and it’s touching. People bringing letters and they really want to talk. Because I always feel that my energy level stays the same during shows, it’s kind of at this mid-level, but everyone in the audience is at this manic high-level. For me, the show is always about them. I find myself just getting lost watching them, because they’re so animated.

When you return to the stage, you’re usually just laden with gifts from the fans. What’s the most memorable gift you’ve been given by a fan during a show?

A boy brought me a silver jewelry box, and etched in it was this T.S. Eliot poem that had been my header on Twitter. It was just this comment about a rose that had the look of a flower that was always looked at. So he knew that that was one of my favorite quotes, and I found that to be so very thoughtful.

In your current cover story with The Fader, you talked about having a keen interest in science and technology.

I majored in metaphysics in college, that’s what I got my degree in. And the reason I chose that was because the Jesuits who were teaching that subject, they weren’t just theologians, they also had backgrounds in science. Obviously the quest for peace, the quest for knowledge of something bigger is…that’s the end game. That’s what I’m really interested in. But technology, I believe, is bringing us closer to maybe figuring out some of those questions, and I think we’ve really seen that in the last ten years. I’m interested just like probably anybody else is. I guess meeting people like Elon Musk and people involved in the tech world in different ways has been interesting to me.

I wanted to ask you about the Ultraviolence song, “F—-d My Way Up to the Top”…

Oh, God.

In an interview with Grazia in Germany, you inferred that it was in part a response to another popular female artist who’d said derogatory things about you in the press.

What do I say… I put so much time in putting a narrative to the track listing together, and then I’m so stupid because I should just know that it’s totally gonna be disregarded because I just set myself up. Let me put it this way, every track that I put on there and every track name and the order that it’s in tells a story that is important to me. In my mind, the narrative for this record ends with the last track, not the bonus deluxe stuff, all that business. It ends with the cover of Nina Simone’s “The Other Woman.” And without even really saying more about that, the decision to end with a cover of a jazz song and the content within that, it’s kind of telling in its own way.

And so is “Having F—–d My Way Up To The Top” being toward the end of the track listing. I would say the track having more of a hip hop heavier beat, whereas the rest of the album is live and organic…it kind of drives this one particular point home. It’s hard when you’re doing something in the studio, you kind of feel like your story about it is going to end there, but then in interviews you’re never really sure how far to elaborate…there’s not much I can really say about it that’s going to help you understand. I’ll just wait for you to listen to it.

 

In addition to Ultraviolence, you’ve had immediate success this year with your version of “Once Upon a Dream,” from the Disney movie, Maleficent. What are your memories of that recording session?

It was great, because I did that song with my best friend for the last ten years, Dan Heath, who became one of my producers. He and I have such a great thing going. We did it at home actually, at his home studio. We recorded on the same mic we’ve used on a lot of my other songs that we’ve done together. It was exciting, because we love Disney. We love the history of Disney. So, it was really natural and nice to be involved in a project like that.

On the contrary, he seems too crotchety and bitter to not be well versed in classic dad-rock, and the idea of a highly stylized 28 year old woman appropriating that sound for her "childish, monotone, etc) songs about death, abusive relationships and opulence is upsetting to him. Even when he begrudgingly admits some minuscule thing about the album doesn't suck, he makes sure to attribute it to a man. Also "her vocals make it sound like she just slipped herself a date rape drug" Fucking really? Let's just stick with the benzodiazepine comparisons if we must do the "lol how sedated is this bitch" thing.
 
Even if Lana doesn't see the sexism in some of the critique surrounding her rise, it is there, and it has always been there. 

So The Guardian spends the whole review tearing her lyrics and general existence down, barely talking about the songs themselves, only to give her a 4/5? "lol you suck but this album is the shit"?

So The Guardian spends the whole review tearing her lyrics and general existence down, barely talking about the songs themselves, only to give her a 4/5? "lol you suck but this album is the shit"?

Ah, omg as a musician I have to say... I love your pun 
 
"Pitchfork is likely to totally change their tune about lana though"

On the contrary, he seems too crotchety and bitter to not be well versed in classic dad-rock, and the idea of a highly stylized 28 year old woman appropriating that sound for her "childish, monotone, etc) songs about death, abusive relationships and opulence is upsetting to him. Even when he begrudgingly admits some minuscule thing about the album doesn't suck, he makes sure to attribute it to a man. Also "her vocals make it sound like she just slipped herself a date rape drug" Fucking really? Let's just stick with the benzodiazepine comparisons if we must do the "lol how sedated is this bitch" thing.
 
Even if Lana doesn't see the sexism in some of the critique surrounding her rise, it is there, and it has always been there. 

So The Guardian spends the whole review tearing her lyrics and general existence down, barely talking about the songs themselves, only to give her a 4/5? "lol you suck but this album is the shit"?

On the contrary, he seems too crotchety and bitter to not be well versed in classic dad-rock, and the idea of a highly stylized 28 year old woman appropriating that sound for her "childish, monotone, etc) songs about death, abusive relationships and opulence is upsetting to him. Even when he begrudgingly admits some minuscule thing about the album doesn't suck, he makes sure to attribute it to a man. Also "her vocals make it sound like she just slipped herself a date rape drug" Fucking really? Let's just stick with the benzodiazepine comparisons if we must do the "lol how sedated is this bitch" thing.
 
Even if Lana doesn't see the sexism in some of the critique surrounding her rise, it is there, and it has always been there. 

On the contrary, he seems too crotchety and bitter to not be well versed in classic dad-rock, and the idea of a highly stylized 28 year old woman appropriating that sound for her "childish, monotone, etc) songs about death, abusive relationships and opulence is upsetting to him. Even when he begrudgingly admits some minuscule thing about the album doesn't suck, he makes sure to attribute it to a man. Also "her vocals make it sound like she just slipped herself a date rape drug" Fucking really? Let's just stick with the benzodiazepine comparisons if we must do the "lol how sedated is this bitch" thing.
 
Even if Lana doesn't see the sexism in some of the critique surrounding her rise, it is there, and it has always been there. 

I'm pretty fuckin' sure Guns and Roses is my favorite off the album, tbh. Fuck y'all.