AngelHeadedHipster

Jared Leto and Lana shud get together !!!

Jared Leto and Lana shud get together !!!

Jared Leto and Lana shud get together !!!

BTD is pure pop bliss mixed with 60's glamour,hip hop beats and very glossy production. It is imo a little too over produced.
 
UV is a diffrent beast altogether. It's a vicious dark brooding album and sonically its a much better body of work. Yes the production is gritty but the overall sound is coherent unlike BTD which was genre bending all over the place.
 
Imo UV is the better album however BTD will always hold a special place in my heart for so many reasons. But if I had to choose it would be UV.

It reminds me of Kylie's On a night like this video. Both have a sexy pool scene and in both they are trying to get the attention of their sugar daddies.

Hi everyone, I'm new here
 
Wondering if anyone else here does/seen any LDR lyric videos? I've seen a couple floating around on youtube, but not a lot really catches my eye since ibobtail. .
Thought I'd share mine... my editing level is still pretty amateur (and I'm already on my 2nd copyright strike!) but here goes.... (it looks really bad in low or lower quality). 
 
 
 

 
http://www.youtube.com/watch?v=jI3i2EspFsg&list=UUdbFtsz5KICad10ITxEY8Fw
 
http://www.youtube.com/watch?v=GlyR5Z1eof8&list=UUdbFtsz5KICad10ITxEY8Fw
 
http://www.youtube.com/watch?v=zdNoyVij9JQ&list=UUdbFtsz5KICad10ITxEY8Fw
 
will delete this in near future due to abysmal quality:
http://www.youtube.com/watch?v=-MreomnQrpw&list=UUdbFtsz5KICad10ITxEY8Fw
 
http://www.youtube.com/watch?v=-pYiIb9yNGo&list=UUdbFtsz5KICad10ITxEY8Fw
 
I had another video for DUM DUM but it got deleted

This was an interview VG did with Lana around the time she performed in Bergen, so it's from yesterday I believe. 
 
Lana has captured the world with her music, but she points out that not everything in her life is picture perfect. 
 
After her performance in Bergen she received the high score 5 from VG, and the singer told us that she highly values Norwegian fans.
 
"I value being here more than ever now. When I see how the audience sings along, it makes me feel like they accept me for who I am. I feel like they understand me." 
When asked why there are still sad girls and bad men in her songs, Lana laughs, and answers: "I am still a sad girl, I still date bad men." 
 
On the "I wish I was dead" hysteria
 
But feeling understood is not always the case for the artist outside of the stage area. In an interview with the guardian published this week, the singer voiced a death wish, which got quoted by media all over the world, including VG.
 
But to VG Lana says that the whole situation was blown out of proportions. 
 
"I did not actually say that I thought an early death was a glamorous way to go. I just said that like many other people I admire and take inspiration from those who have passed at an early age," referring to her heroes, Jimi Hendrix and Amy Winehouse, who both died young. (Did he mix up Jimi Hendrix and Jim Morrison when he googled 27 club...?)
 
The artist admits to having said that she sometimes wishes she was dead, but that it was taken the wrong way. 
 
"Like many people who go through a lot I sometimes wish for my life to end. Sometimes feel like that, and sometimes I don't."
 
Lana Del Rey elaborates that every day is different, and that she is not an unhappy person.
"Sometimes I just feel like it becomes too much."
 
Talking about Ultraviolence
 
"To me this album is more relaxed, free and sexy. I didn't feel the need to document as much of my life story as I did in Born to Die. This album goes deeper into important moments from my life." Lana Del Rey adds that the album is like her own little personal jewel. 
 
The artist struggle when she's trying to explain why so many young girls love her music. 
 
"I guess they to a certain degree can relate to what I say or how I say things."
 
Interviewer: "But one of your songs from the new album is called "Fucked My Way to the Top". What do you want to convey to those who listen to this song?"
 
"I don't censor myself," she says, and adds that all of the songs on the album means something to her and often tells a tale about things she's been trough. 
 
She admits that sharing her deep and personal songs from the stage has been nerve wracking. But Del Rey says it has become easier with time. Now she sees that the audience is happy to be at her concerts. And that is why she sees the importance in taking "selfies" with her fans during concerts, giving out hugs and pecks on the cheek. 
 
"It's a part of the experience. For them I am the show, but to me they are the show. So I take part in it."

which one is this? Not counted on MC  
 
THIS is the list of reviewers counted: 
Music The 405All Music Guide
Absolute Punk
Alternative Press*
American Songwriter
Austin Chronicle
Billboard
Blurt
Boston Globe
Chicago Tribune
Clash Music
Classic Rock*
CMJ
Cokemachineglow.com
Consequence of Sound
Country Weekly
Delusions of Adequacy
DJ Booth
Drowned In Sound
Dusted Magazine
Entertainment Weekly
Exclaim
Fact Magazine (UK)
The Fly (UK)
Filter*
The Guardian
HipHopDX
The Independent (UK)
Kerrang!*
The Line of Best Fit
Los Angeles Times
Mojo*
Mixmag
musicOMH.com
New Musical Express
New York Daily News
The New York Times
No Ripcord
NOW Magazine (Toronto)
The Observer
Okay Player
One Thirty BPM
The Onion (A.V. Club)
Paste Magazine
The Phoenix (Boston)
Pitchfork
Pop Matters
Pretty Much Amazing
Punk News.org
Q Magazine*
The Quietus
Record Collector
Resident Advisor
Revolver*
Rock Sound
Rolling Stone
Slant Magazine
The Source *
Spin*
Sputnikmusic
The Telegraph (UK)
This is Fake DIY
Tiny Mix Tapes
Uncut*
Under The Radar
Urb*
The Wire*
XLR8
XXL  

Hey guys, new set of pieces here. Really wanted to create my own collage styled art prints inspired by songs off of Ultraviolence. I was originally going to make  one for each track, but decided to narrow it down to 9 prints for 9 lyrics from 9 songs, these are six of the nine planned pieces. Not sure what the final 3 will be yet, so shoot ideas at me. I'm making the 12 x 12 prints soon and is super excited, woo.

 

Show me smome love, and share/reblog on Tumblr here and here / like me on facebook 

 



 

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I love everything about Born To Die and Paradise - the trip hop beats, the heavy violens, the voices which are used as instruments, this tiny little snarring-sound which is often used, the glamour, the personas of the vintage upper class beauty queen, the softdrink drinking, drug addicted trailerpark lolita and the motorbike riding pole dancer chasing the american dream.
 
I also like UV a lot, the sound of it is more chilled and relaxing, I like the rock-take on and the e-guitars,I like the "narcotic swing". But somehow, when i listen to BTD and Paradise, I have a very satisfied feeling. Even tough they are not super-story-telling, they feel like a complete thing. With UV i have the feeling of getting a look on some kind of situation and atmosphere, but it ends as fast as it started, although the tracklist is longer and there are longer songs. But maybe that's the reason: some of the songs are very long while others are very short, or at least appear short in comparison to the long ones. When i listen to Cola, at the end of the song I feel like i just listend to my fav paradise-Track. When I listen to PWYC, I feel like i want more to come. On UV i always have the feeling that, by being more experimental, she did less work on the lyrics and concept of the tracks.
 
So in the end I like both albums, with a slight preference for BtD and Paradise, but I guess this could change because I only heard UV  twice as a complete album
But like someone said above, BtD made me a fan, I'm not sure if i would be adoring her so much if her first one was UV.
 
But I really look forward to driving to UV, I loved it with Paradise too (BtD was not the best driving music in my opinion) and UV seems like it's really good for this.

I'm not a professional reviewer by any means, but if anybody's interested, here's my look on the album: http://bloggingnickster.blogspot.com/2014/06/ultraviolence-lana-del-rey.html
 
(If you don't want to read track-by-track analysis, scroll on down and there's an "overall" outlook on the album.)

Finding Her Future Looking to the Past Lana Del Rey Still Stirs Things Up With ‘Ultraviolence’
The New York Times Interview: Lana Del Rey
 
LOS ANGELES — In October, before starting an international theater tour, the songwriter Lana Del Rey consulted a clairvoyant. She was instructed to write down four questions in advance and sleep on them. The first question on the list, Ms. Del Rey said in an interview in May at her house here, was “Am I meant for this world?”
It’s probably not the kind of question most multimillion-selling pop singers would ask themselves with their careers clearly ascendant. This year, Ms. Del Rey was called on to sing a spooky remake of “Once Upon a Dream” for the Disney film “Maleficent,” and she sang at Versailles for the pre-wedding party of Kanye West and Kim Kardashian.
But doubt, regrets, obsessive longing and self-destructive impulses are often at the core of Ms. Del Rey’s songs and videos. “I wait for you babe, that’s all I do/You don’t come through babe, you never do,” she sings in “Pretty When You Cry” on her new album “Ultraviolence” (Polydor/Interscope), due for release Tuesday.
Since her emergence on a major label with the single “Video Games” in 2011 and the album “Born to Die” in 2012, Ms. Del Rey has drawn passionately opposed responses. Her songs and video clips demurely step into cultural minefields, exploring eroticism, mortality, power, submission, glamour, faith, pop-culture iconography and the meaning(s) of the American dream. She has faced, in reviews and online discussions, shifting accusations of inauthenticity, amateurishness, anti-feminism and commercial calculation (although her only Top 10 single in the United States was unplanned: a dance remix by Cedric Gervais of her wistful ballad “Summertime Sadness”). But she has also, largely through YouTube, gathered an adoring worldwide audience that takes her every lyric to heart.
“Ultraviolence” will doubtless stir up more disputes. But one thing the album should immediately eliminate is the notion that Ms. Del Rey is only chasing hits. The album reaches deeper into her slow-motion sense of time, her blend of retro sophistication and seemingly guileless candor. It also moves gracefully between heartache and sly humor, sometimes within the same song.
The music on “Ultraviolence” sets her further outside whatever passes for current pop mainstream. While radio playlists are full of futuristic electronic dance beats and Auto-Tuned testimonials to self-esteem, Ms. Del Rey, 28, has taken a contrary path, melodic and melancholy. Much of her music has been lush and downtempo, invoking vintage movie scores and echoes of the 1950s and 1960s; it opens quiet spaces. Her voice sounds human and unguarded, offering sweetness and ache even when she sings four-letter words.
The tracks on “Born to Die” drew on hip-hop, with grunted samples and hefty beats, but now, she said, “I’m not crazy about some of that production.” The hip-hop influence was already receding on “Paradise,” the EP she released in 2012. And “Ultraviolence” is more languorous than ever. Its first single, “West Coast,” actually downshifts to a slower tempo for its chorus, where standard radio formula calls for a big buildup.
In a throwback to a less-computerized era, many of the tracks on “Ultraviolence” were built around Ms. Del Rey and a seven-piece band recording together and responding to one another. The songs often float in a psychedelic haze that she described as “narco-swing.” Dan Auerbach, the Black Keys’ guitarist, produced and performed on the album, and said, “She was watching us and swaying while we were playing.”
Mr. Auerbach was drawn to her songs because, he said, “They felt old and new at the same time.” Ms. Del Rey freely cites inspirations including Frank Sinatra, Bob Dylan, Cat Power, Nirvana and Eminem, but none of them emerged in this century. “Think of what’s going on now,” she said. “Where am I going to get my inspiration? I couldn’t think of a thing today that I would really genuinely want to be a part of.”
In conversation, Ms. Del Rey isn’t the low-voiced chanteuse of songs like “Video Games” or “Blue Jeans”; her voice has a girlish, soprano lilt, punctuated with giggles. Wearing a blue mini-dress and clear sandals that revealed toenails painted a pearly peach, she sat on her couch here, sipping coffee and smoking through a pack of cigarettes, under a painting of cherubic angels. She showed off a recent tattoo on her right arm: “Whitman Nabokov,” two authors she has quoted in songs. She had just returned to Los Angeles to finish her North American tour, with a show at the Shrine Auditorium and Expo Hall.
After living in London and touring the world, Ms. Del Rey bought her house here, an elegant English-style residence in need of repair, seven months ago. The walls are newly painted in the blues and greens that were also the palette of “Video Games,” the homemade video clip — she edited it on her laptop — that catapulted her career and has now been viewed more than 119 million times on her two YouTube sites alone. The paintings in her living room are of icons — the Virgin Mary, Elizabeth Taylor — and a book on the coffee table had Marilyn Monroe on the cover.
“I have strong relationships with icons,” she says. “They’re probably my most meaningful relationships. They feel personal to me, but maybe that’s what being an icon is. Maybe everyone feels like they have that special relationship that’s different from everybody else, like you love them and you think you understand them more than anyone else, or you get them for who they really are.”
It’s not a position she aspires to for herself. “I wouldn’t really know how to shape myself as an icon,” she said earnestly.
Many of the accusations that were leveled at her major-label debut were inaccurate. She wasn’t a pretty face serving someone else’s concept, or a dilettante. As Lizzy Grant — born Elizabeth Woolridge Grant — she had worked at being a songwriter since her teens, and playing in small clubs on the Lower East Side and in Williamsburg. She grew up in Lake Placid, N.Y., and came to New York City with, she said, “a Dylan-esque dream of a community of writers,” but never found it.
In 2007, she got her first recording contract when she was a senior at Fordham, studying metaphysics. She recorded a debut EP in 2008, and briefly released an album in 2010 — “Lizzy Grant a.k.a. Lana Del Ray” — before it was withdrawn while she renamed herself Lana Del Rey. The songs on that album were already exploring the tarnished innocence and dangerous compulsions that she would return to on “Born To Die.” The production would change with her collaborators, but her perspective did not.
As many songwriters do, she works with more trained musicians who supply foundations for her melodies and lyrics. Sometimes they offer chord progressions while she improvises; sometimes she brings finished words and tunes for them to harmonize. “She’s very clear about what she wants and doesn’t want,” said Rick Nowels, who wrote “Young and Beautiful” and “West Coast” with her, and who has collaborated with Madonna and Dido. “She is the captain of her own ship.”
Ms. Del Rey describes her songwriting simply. “I want one of two things,” she said. “I either want to tell it exactly like the way it was, or I want to envision the future the way I hope it will become. I’m either documenting something or I’m dreaming.”
On “Ultraviolence,” that means songs like “Cruel World,” in which she breaks away from a long failed relationship — “Shared my body and my mind with you/That’s all over now” — and “Sad Girl,” a bluesy reflection on “being a mistress on the side”; she also sings “The Other Woman,” a song recorded by Nina Simone.
Already braced for disapproval, she said: “If you really do want to analyze me, if that’s maybe something you’re interested in, let me tell you my story and you can look at that.”
The recording of “Pretty When You Cry” is built around the original writing session: chords from her band’s guitarist, Blake Stranathan, a fluctuating tempo and words she was making up on the spot. “I’m stronger than all my men,” she sings, “except for you.” A more conventional approach would be to redo its shaky, scratchy lead vocal with something prettier. “I didn’t even think to go back and fix it,” she said, “because if you know the story behind it, then you can tell why it was sung that way.”
The angry responses to “Born to Die” left scars. “Carl Jung said that inevitably what other people think of you becomes a small facet of your psyche, whether you want it to or not,” she said. Her new album includes a retort: “Money, Power, Glory,” which claims, with deep sarcasm, that those are what she’s after.
“I learned that whatever I did elicited an opposite response, so I’m sure ‘Money, Power, Glory’ will actually resonate with people as being what I really do want,” she said with a shrug. “I already know what’s coming, so it’s O.K. to explore irony and bitterness.”
A recurring criticism was that her songs about being swept away by love were anti-feminist in their passivity; she contends that she was writing about private, immediate feelings, not setting out doctrine. “For me, a true feminist is someone who is a woman who does exactly what she wants,” she said. “If my choice is to, I don’t know, be with a lot of men, or if I enjoy a really physical relationship, I don’t think that’s necessarily being anti-feminist. For me the argument of feminism never really should have come into the picture. Because I don’t know too much about the history of feminism, and so I’m not really a relevant person to bring into the conversation. Everything I was writing was so autobiographical, it could really only be a personal analysis.”
She has also been denounced for video clips that culminate in her death: by drowning, by falling, by choking. The video for “Born To Die” ends with her in a boyfriend’s arms, inert and covered in blood. She agrees that her videos have often been “exploring ways to die,” she said, adding: “I love the idea that it’ll all be over. It’s just a relief, really. I’m scared to die, but I want to die.” The title song of “Ultraviolence” ventures into precarious territory. In an arrangement that melds Baroque dirge and wah-wah guitar, the singer describes herself as “filled with poison but blessed with beauty and rage,” and goes on to quote a fraught 1962 song from the Crystals, “He Hit Me (And It Felt Like a Kiss).”
The lyrics also mention a “cult leader,” and Ms. Del Rey said the song looked back to a time soon after she moved to New York City, when she considered following a guru who “believed in breaking you down to build you back up again.” “It sounds kind of weird,” she added, “but that is what it’s about, and having romantic feelings entwined with the idea of being led and letting go and surrendering. That’s always a concept to me, like I’m wavering between independence and falling into lifestyles and being led.”
There’s an underlying pattern to the songs throughout “Ultraviolence”; Ms. Del Rey’s voice appears alone and often fragile in the verses, then is swarmed by instruments and multiple backup vocals. “Each tune fully represents the ebbs and flows, the periods of normality mixed with this uncontrolled chaos that comes in through circumstances in my life,” she said. “It’s your story. If you’re the one writing it, you want to tell your story right.”
The next night Ms. Del Rey was at the Shrine’s Expo Hall before a packed, standing audience. There were high-pitched screams when she strolled onstage, and from the front to the back of the hangarlike hall, voices were raised to sing along. It wasn’t, like some concerts, a social occasion; this audience was devotional, sharing every word, sometimes close to drowning her out. Onstage, Ms. Del Rey just stood there and sang, swaying occasionally; when she did her one planned bit of choreography, a single hip flip in “Body Electric,” the whole room roared.
“The energy is so much higher in the pit than it is onstage,” she noted afterward. She strolled twice down into the photo pit, trailed by a video camera, as fans reached for her with offerings and hugs; one fervent embrace looked like a half-nelson. “I’ve lost a lot of hair on this tour,” she said later, backstage. “The audience has been an unexpected well of comfort that I’ve dipped into recently. It was never something I even thought to go to for strength or affirmation.”
But the adoration hasn’t quite broken through the solitude of her songs. “Yes, I’m in a different place today than I was four years ago,” she said. “But I’m some ways I’m still in the exact same place. I’m still on the periphery.”
 

Ultraviolence. By a long way.
 
Sonically, it's a much more cohesive and coherent album. The tracks all sound like they work well together, unlike on BtD where I felt that there were too many different styles going on.
Lyrically, the songs are so much cleverer than BtD. She doesn't rely on simple rhymes anymore - she's painting a picture to us. Florida Kilos is AMAZING simply because of the way it sings about drugs in such a twisted, sickly manner; similar to in Boarding School.
Lana's also ditched the 'don't leave me I can't live without you' image, which I'm so glad that's she's done. She's so much more mature about love - just listen to Old Money and see how much more advanced and complex it is compared to Without You.
 
I think a lot of people were expecting Born to Die 2.0 in UV, which is why they were disappointed. But it was never intended to be a rehash - it was gonna be something fresh and new.

What I remember Lorde saying is that she heard the lyrics "I'm nothing without you" and thought it was a bad message to be sending to girls. People are going to hear a quote like that and think Lorde is in the right and standing up for feminism. But contextually, "Without You" isn't saying "a woman is nothing without a man" but more like "fame and success means nothing without love."
 
I hope FMWUTTT is about Lorde. She's a pretentious teenager who needs to stop running her mouth. 

SAME FEELINGS TOWARDS LORDE!!!
 
I feel as if it is about her. Lorde said that about people who are in the top of the music industry. She said "Drake, Nicki Minaj, and Lana Del Rey's music arent relatable." Maybe not to her, but I'm pretty sure Drake raps/sings about love and how it feels to be heartbroken, Nicki raps about being hurt and how it feels to be a woman(or something to just dance to), and Lana tells us stories, and lots of the times she has songs that have deeper meanings(with songs that dont but they sound great.)
They also tell come up and how difficult things were stories not always bragging.
 
Honestly I think Lorde is overrated, and annoying.

I love this album as the standard version.
 
 
The deluxe needs to be deleted and BB needs to be replaced with the Demo.
 
 
I'm sorry the new version is cute and all with drums but it devoids of any emotions from the demo.
 
 
The demo version is so sad but in a delicate and beautiful way. The album version is very showy but with no substance. plus her voice blurred out with loud instrumentals which kinda pissed me off esp during the chorus.

I'm really surprised Ultraviolence came this far without a leak. FINALLY her label is doing SOMETHING right. 

Booklet:
 
 
(pics aren't mine)

I have been waiting on U.V. baby for too long now, too long now

I have been waiting on U.V. baby for too long now, too long now

I have been waiting on U.V. baby for too long now, too long now

OMG, this leak turns like...



We are tortured.

This is a little embarrassing but I feel so connected to you guys, all waiting for this to leak. I just keep refreshing the page.