boom like that

Yeah I’m also starting see a trend of toxic stans hating her current/most recent producer, harassing them on social media, and acting surprised when they don’t work with Lana again 

YES. YES. YES.

I think it’s mainly the production for me, the chorus sounds like a karaoke backing track to me if that makes sense? Iike the ones on YouTube that are basically fanmade and not the real instrumental

lipsters listening to the song for the first time after giving the "insiders" attention

the atmosphere's just perfect for it's lyrical themes and brings so much. it encapsulates the oscillation of bliss and drunkedness in how impactful relations can change in a blink or be fed to you over time. perfect for a show like euphoria and still stays true to her artistry i honestly think it's perfectly done. 

I'm sad I can't connect with the song. Do I think it's beautiful? Absolutely. Her vocals sound great, and the melody is catchy (although I wouldn't use that word, but can't think of another at the moment) but for me, it's just not appealing. And it intrigues me. 
 
Even if I disliked most of Chemtrails at first, some of the songs grew on me, and the ones that didn't, I still like them more than Watercolor Eyes. For some reason, I also like it when I watch the trailer, but when I hear the full thing I just can't connect with. Why is it? Could it be I'm forcing myself into liking it and that's why it doesn't click?  
 
 

Some fans like: why can't this soft soundtrack, meant for a sad movie scene, sound like a rocking, richly produced dance hit with electric guitar and drums?

I always feel bad when I see people aren’t liking the direction she’s going in. I respect all opinions and it sucks to be disappointed in your favorite artist’s releases, and I’ve tried to figure out why mid/post-NFR tracks sound so different from her older material. 
 
What I’ve decided is that, especially with the adoption of her spoken poetry, she said she likes almost freestyling and making very few edits to things—just letting them be what they are. I think she lived by this dogma in the beginning with AKA, where everything felt and sounded like it had spontaneous air in the mix. 
 
Once she was signed by a big label, naturally they try to boil it down to a concentrate—cut out any stray frequencies, smooth and condense her voice, have crisp instrumentals keen for radio and movie play, etc.
 
I had liked Lana’s music in the past, but I really became a stan with the release of Mariner’s and Venice Bitch, because, while I hadn’t heard much from UV or anything at the time, I felt I could hear her true artistry come through in those tracks, with their lo-fi, vocal-center approach. It captured the electricity of a live performance, of an artist creating and breathing in real-time that sounded so different from the slick, airtight productions on the radio or sleek, older material of hers that I was familiar with.
 
I think she’s leaned even further into that after her work with Jack. We’ve heard her collaborators say that she’s done vocals in one take, or how she literally wrote and recorded White Dress on the spot while Jack played some chords. I think, above all lately, she values organicness—the feeling of catching lightning and bottling up that emotion right away, to present it as it was at that moment in time, and not revisit it. While I agree it has led to some more human “errors” (slightly wrong notes, lags in timing, fuzzy gear playback), I feel this is all so hyper-intentional in her art now, almost like a protest of the modern music industry. It’s almost like her trajectory has been a circle to get back to that spontaneity she felt with AKA.
 
I really appreciate that art and feel it is true to her acoustic, songwriting soul, but at the same time I see how far that is from the BTD—and even Honeymoon—sound, for example. I definitely feel empathy for the people who don’t love it as much and just wanted to type out my thoughts in case it resonated with anyone. Artists’ journeys have always been so interesting to me, and Lana’s is certainly one of the most uniquely interesting ones we’ve had to witness, as one of the first true viral stars to reigning indie/alt queen of the music counterculture.

4:30.. ig 6:30 isn't that bad, need like hot coffee or something 

the way lana monopolized the fuck out of Rick and even said he was scared to ask her permission to work with other people bc she kept him on lock. and now he's just nowhere in sight. put him back to work lana PLEASE.

Wild watermelons that leave me sandy

What has she put in this, I can’t stop replaying it 

well floptender just so happens to be my favorite song off of nfr...

eyeball melons
 

water balls 

at this point the only lana producer we can geniunely trust is rick nowels  

where oh where has my daddy (rick) (dan) (insert other consistently good producer here) gone oh where oh where could he be 

watermelon with eye colors 
 

when Rick comes back, delivers something in the vein Blue Banisters with its same free form style, and people either eat it up or continue to not realize that Lana is mostly in charge of her creative decisions 

4:30.. ig 6:30 isn't that bad, need like hot coffee or something 

4:30.. ig 6:30 isn't that bad, need like hot coffee or something 

4:30.. ig 6:30 isn't that bad, need like hot coffee or something 

4:30.. ig 6:30 isn't that bad, need like hot coffee or something 

We’re all on this site 24/7, yet actively choosing a time to be online is very hard 🙃