daphnedinkley

Her not performing The Greatest is one of the biggest crimes of this whole thing       the song is loved by both fans and critics and it's a recent single so why not perform it?? It's the kind of song that's really made to be performed live and sung along to by a big crowd, it's so big and anthemic!! 

I don't wanna put a dampener on anyone's experience cause I'm sure the night was actually amazing overall!! But
 
 
 

I don't wanna put a dampener on anyone's experience cause I'm sure the night was actually amazing overall!! But
 
 
 

NME about Lana : “Why is it that somebody like Jack Kerouac or Charles Bukowski is universally revered by @beam_me_up_softboi entrants, who are able to nonchalantly separate the artist from the art? In a similar way, Vladimir Nabokov – who Lana Del Rey references numerous times – is regarded separately to his fictional depiction of paedophilia in Lolita. And meanwhile there’s an assumption that art by women is squarely autobiographical – employ a bit of creative licence, or depict a protagonist with questionable morals, and you’re an irresponsible role model – worse, a fraud. And so, Lana Del Rey has historically been unpicked and scrutinised in the past.”
 
Somebody needs to spam this all over that Rantano review of every Lana record.

how i connect the songs to my life and emotions:
 
norman fucking rockwell - i dont realate to it tbh... i even feel like she's singing about me i look great and bright in the outside but im a fucking mess and a manchild actually
mariners apartment complex - i cried to this one many times, it really speaks to me! "who i am is a big time believer THAT PEOPLE CAN CHANGE!!!" damn...
venice bitch - this is my ex singing to me... he was so hurt he became a very cold and surly person... ice cream ice queen... trying to be stronger for you...
fuck it i love you - it's such a personal song so i dont find a way to relate to it... except for obviously 'if i wasnt so fucked up i think id fuck you all the time'
love song - the intimacy and romanticism... 'i would like to think that you would stick around / is it safe to just be who we are?' my ex not letting me kiss him in public spaces, afraid of being seen by strangers
doin' time - N/A
cinnamon girl - i dont have a lot of experiences with love, i only had 1 boyfriend... but just the thought of meeting a guy and having to tell him all my traumas and insecurities ugh... 'theres things i want to say to you but ill just let you live...'
how to disappear - N/A only relate to it cuz im ugly like the song!
california - i'd do anything for my ex to come back!!!
best american record - N/A
the greatest - it's a stretch, but the 'miss doing nothing the most of all' speaks to me a lot because i never had the chance to be young and careless and doing nothing... i would actually love to miss that, but sadly i cant
happiness is a butterfly - i relate to it in the sense that happiness is everywhere but sometimes it's so so hard to catch it
bartender - N/A
hope - i relate because of the depression thing, but it's the most personal Lana song so it's difficult
 
i would like to read y'all!

This might be an unpopular take but... I actually feel like on the whole women have been pushed out many pop spaces (esp alt pop) despite being the main cohort who have historically (and contemporarily) supported the pop music industry and its artists. Sometimes I feel like women (regardless of sexual orientation) get made fun of for liking the same pop music that gay men do because it's "basic" when we like it or whatever. At a gathering recently a friend of a friend told me Charli XCX is "for gay men only" and while he sort of meant it as a joke I felt like it was quite revealing of the kind of culture women in pop spaces experience. I've heard similar sentiments from PC music fans too. While many current pop acts undeniably have huge gay male fanbases, I don't think that should be at the cost of women getting to enjoy those spaces too. I guess it just frustrates me a bit because pop music has traditionally been marketed towards women, who became the butt of jokes about it being lowbrow, only for it to be later claimed by gay culture and then become way less lowbrow and way more cool. Basically misogyny in pop is wearing me down

Not mad, just disappointed.
 
For example, I feel that there is really no excuse for not singing Bartender in its entirety. I could understand if the song had really high notes or something, but it doesn't. I could understand if she was dancing, but she wasn't. It was the second song on the setlist, so fatigue shouldn't be a problem. So ... what is the justification for it?
 
I can sing that song without problems, so I know she can. It's really difficult to find a reason for it other than laziness. She's a singer. She needs to sing. As far as I'm concerned, asking people to pay several hundred dollars to listen to you sing only half the time isn't good enough. Maybe my standards are too high? I don't know.

though for different reasons i relate to the song so much too!! sending you lots of love, i'm so deeply sorry for the situation you're in right now. every time i see your profile on here i'll send a little love into the atmosphere for you and hope it reaches you <3

an entire mood

What are you some of yalls fave deep album cuts?
 
Some of mine would have to be: When The World Was At War...., Florida Kilos, Sad Girl, Salvatore, The Blackest Day, Lolita and Heroin 

What are you some of yalls fave deep album cuts?
 
Some of mine would have to be: When The World Was At War...., Florida Kilos, Sad Girl, Salvatore, The Blackest Day, Lolita and Heroin 

What are you some of yalls fave deep album cuts?
 
Some of mine would have to be: When The World Was At War...., Florida Kilos, Sad Girl, Salvatore, The Blackest Day, Lolita and Heroin 

an entire mood

What are you some of yalls fave deep album cuts?
 
Some of mine would have to be: When The World Was At War...., Florida Kilos, Sad Girl, Salvatore, The Blackest Day, Lolita and Heroin 

an entire mood

I'm honestly not sure where the idea that anybody criticising the production, mixing and mastering of NFR wants Lana to make polished pop (a la BTD) comes from. 
 
Personally Ultraviolence is my favourite Lana album, so believe me when I say I love the raw, chaotic, grunge/rock/blues/jazz-hybrid sound that Lana's had before. NFR could potentially be my second favourite album, because I love what it has to offer: heartbreaking and complex lyricism (Hope), trippy surf-inspired guitars (MAC, Venice Bitch), an increased sense of instrumentation compared to LFL, and so on. All of these things add to the appeal of NFR.
 
However, what I (and I assume other people) have a problem with on NFR is that these elements (barring the lyricism which producers don't have any control over) are not taken full advantage of. I don't want these elements gone and replaced by hip-hop beats and BTD strings and synths; I (we?) want more of them. Take the chorus of MAC, one of my favourite songs, as an example: there's very little bass when the chorus kicks in, which squanders the almost anthemic feel of the track; the drums don't quite have a kick to them; on streaming services the chorus is quite scratchy and almost metallic-sounding when played at a loud volume (which is the only way to get any semblance of the rousing vibe the song intends to inspire), as if the volume of all the instruments and layers weren't balanced properly and everything is happening at the same volume, a sure-fire way to make the song sound a little messy when played loud.
 
Compare this to West Coast, for example: those drums HIT, the layering of the instruments is masterfully done, the chorus is hazy and fuzzy and trippy but not at the expense of the production value because it feels like you hear exactly what you're supposed to.
 
Look at How To Disappear - I like the song, but when the line "But I love that man like nobody can" kicks in, Lana's vocal track randomly jumps a lot louder on the track, probably to compensate for the bells being added so that they don't drown out Lana's voice. This, however, is incredibly jarring and definitely noticeable, and I assume a rather amateur way to go about balancing out vocals and instruments. In fact, a lot of people take issue with the bells on the song overall, but if they were done a little more tastefully instead of just being slapped on top of the instrumental then perhaps people wouldn't feel this way - I mean, everybody loves the guitar on Happiness is a Butterfly because it's subtle and artfully done. I'd also like to use Sad Girl as an example - the Spanish guitar that's added to the second verse isn't subtle but it's not exactly in-your-face either; it adds to the track without messing up the overall vibe and making the song messier than it has to be, it's perfectly blended, it sinks into the background that was already established but it's noticeable enough to considerably elevate the track and give you something to look forward to each time you listen.
 
It's these little production "errors" that I believe people have a problem with.
 
Cruel World is an example of a noisy, chaotic track that's beloved by the fanbase. Not everyone wants Lana to be some polished pop princess; they just want to feel as though her songs are treated with the care they deserve.

I want it to be majestic and luxurious like Honeymoon.. Honeymoon feels premium in a way

Hm. 

BtD - cold, active, detached
Paradise - hedonistic, sinister, loose
UV - hot, raging, sarcastic 
HM - languishing, mindful, hypnotic 
LFL - meta, hopeful, engaging
NFR - vulnerable, courageous, patient 
WHF - ??? 

well, as of today, I'd say that shit goes down here 
 

I'm honestly not sure where the idea that anybody criticising the production, mixing and mastering of NFR wants Lana to make polished pop (a la BTD) comes from. 
 
Personally Ultraviolence is my favourite Lana album, so believe me when I say I love the raw, chaotic, grunge/rock/blues/jazz-hybrid sound that Lana's had before. NFR could potentially be my second favourite album, because I love what it has to offer: heartbreaking and complex lyricism (Hope), trippy surf-inspired guitars (MAC, Venice Bitch), an increased sense of instrumentation compared to LFL, and so on. All of these things add to the appeal of NFR.
 
However, what I (and I assume other people) have a problem with on NFR is that these elements (barring the lyricism which producers don't have any control over) are not taken full advantage of. I don't want these elements gone and replaced by hip-hop beats and BTD strings and synths; I (we?) want more of them. Take the chorus of MAC, one of my favourite songs, as an example: there's very little bass when the chorus kicks in, which squanders the almost anthemic feel of the track; the drums don't quite have a kick to them; on streaming services the chorus is quite scratchy and almost metallic-sounding when played at a loud volume (which is the only way to get any semblance of the rousing vibe the song intends to inspire), as if the volume of all the instruments and layers weren't balanced properly and everything is happening at the same volume, a sure-fire way to make the song sound a little messy when played loud.
 
Compare this to West Coast, for example: those drums HIT, the layering of the instruments is masterfully done, the chorus is hazy and fuzzy and trippy but not at the expense of the production value because it feels like you hear exactly what you're supposed to.
 
Look at How To Disappear - I like the song, but when the line "But I love that man like nobody can" kicks in, Lana's vocal track randomly jumps a lot louder on the track, probably to compensate for the bells being added so that they don't drown out Lana's voice. This, however, is incredibly jarring and definitely noticeable, and I assume a rather amateur way to go about balancing out vocals and instruments. In fact, a lot of people take issue with the bells on the song overall, but if they were done a little more tastefully instead of just being slapped on top of the instrumental then perhaps people wouldn't feel this way - I mean, everybody loves the guitar on Happiness is a Butterfly because it's subtle and artfully done. I'd also like to use Sad Girl as an example - the Spanish guitar that's added to the second verse isn't subtle but it's not exactly in-your-face either; it adds to the track without messing up the overall vibe and making the song messier than it has to be, it's perfectly blended, it sinks into the background that was already established but it's noticeable enough to considerably elevate the track and give you something to look forward to each time you listen.
 
It's these little production "errors" that I believe people have a problem with.
 
Cruel World is an example of a noisy, chaotic track that's beloved by the fanbase. Not everyone wants Lana to be some polished pop princess; they just want to feel as though her songs are treated with the care they deserve.

When LFL first came out I hated White Mustang, but now it's one of my fav songs on there! Although it is a simple song it takes a while to realise how subtly it builds and layers and how her voice has this gorgeous sense of almost desperation at the "and you're revving, and revving...." part. I really sink into that song now.

an entire mood

I'm honestly not sure where the idea that anybody criticising the production, mixing and mastering of NFR wants Lana to make polished pop (a la BTD) comes from. 
 
Personally Ultraviolence is my favourite Lana album, so believe me when I say I love the raw, chaotic, grunge/rock/blues/jazz-hybrid sound that Lana's had before. NFR could potentially be my second favourite album, because I love what it has to offer: heartbreaking and complex lyricism (Hope), trippy surf-inspired guitars (MAC, Venice Bitch), an increased sense of instrumentation compared to LFL, and so on. All of these things add to the appeal of NFR.
 
However, what I (and I assume other people) have a problem with on NFR is that these elements (barring the lyricism which producers don't have any control over) are not taken full advantage of. I don't want these elements gone and replaced by hip-hop beats and BTD strings and synths; I (we?) want more of them. Take the chorus of MAC, one of my favourite songs, as an example: there's very little bass when the chorus kicks in, which squanders the almost anthemic feel of the track; the drums don't quite have a kick to them; on streaming services the chorus is quite scratchy and almost metallic-sounding when played at a loud volume (which is the only way to get any semblance of the rousing vibe the song intends to inspire), as if the volume of all the instruments and layers weren't balanced properly and everything is happening at the same volume, a sure-fire way to make the song sound a little messy when played loud.
 
Compare this to West Coast, for example: those drums HIT, the layering of the instruments is masterfully done, the chorus is hazy and fuzzy and trippy but not at the expense of the production value because it feels like you hear exactly what you're supposed to.
 
Look at How To Disappear - I like the song, but when the line "But I love that man like nobody can" kicks in, Lana's vocal track randomly jumps a lot louder on the track, probably to compensate for the bells being added so that they don't drown out Lana's voice. This, however, is incredibly jarring and definitely noticeable, and I assume a rather amateur way to go about balancing out vocals and instruments. In fact, a lot of people take issue with the bells on the song overall, but if they were done a little more tastefully instead of just being slapped on top of the instrumental then perhaps people wouldn't feel this way - I mean, everybody loves the guitar on Happiness is a Butterfly because it's subtle and artfully done. I'd also like to use Sad Girl as an example - the Spanish guitar that's added to the second verse isn't subtle but it's not exactly in-your-face either; it adds to the track without messing up the overall vibe and making the song messier than it has to be, it's perfectly blended, it sinks into the background that was already established but it's noticeable enough to considerably elevate the track and give you something to look forward to each time you listen.
 
It's these little production "errors" that I believe people have a problem with.
 
Cruel World is an example of a noisy, chaotic track that's beloved by the fanbase. Not everyone wants Lana to be some polished pop princess; they just want to feel as though her songs are treated with the care they deserve.

I'm honestly not sure where the idea that anybody criticising the production, mixing and mastering of NFR wants Lana to make polished pop (a la BTD) comes from. 
 
Personally Ultraviolence is my favourite Lana album, so believe me when I say I love the raw, chaotic, grunge/rock/blues/jazz-hybrid sound that Lana's had before. NFR could potentially be my second favourite album, because I love what it has to offer: heartbreaking and complex lyricism (Hope), trippy surf-inspired guitars (MAC, Venice Bitch), an increased sense of instrumentation compared to LFL, and so on. All of these things add to the appeal of NFR.
 
However, what I (and I assume other people) have a problem with on NFR is that these elements (barring the lyricism which producers don't have any control over) are not taken full advantage of. I don't want these elements gone and replaced by hip-hop beats and BTD strings and synths; I (we?) want more of them. Take the chorus of MAC, one of my favourite songs, as an example: there's very little bass when the chorus kicks in, which squanders the almost anthemic feel of the track; the drums don't quite have a kick to them; on streaming services the chorus is quite scratchy and almost metallic-sounding when played at a loud volume (which is the only way to get any semblance of the rousing vibe the song intends to inspire), as if the volume of all the instruments and layers weren't balanced properly and everything is happening at the same volume, a sure-fire way to make the song sound a little messy when played loud.
 
Compare this to West Coast, for example: those drums HIT, the layering of the instruments is masterfully done, the chorus is hazy and fuzzy and trippy but not at the expense of the production value because it feels like you hear exactly what you're supposed to.
 
Look at How To Disappear - I like the song, but when the line "But I love that man like nobody can" kicks in, Lana's vocal track randomly jumps a lot louder on the track, probably to compensate for the bells being added so that they don't drown out Lana's voice. This, however, is incredibly jarring and definitely noticeable, and I assume a rather amateur way to go about balancing out vocals and instruments. In fact, a lot of people take issue with the bells on the song overall, but if they were done a little more tastefully instead of just being slapped on top of the instrumental then perhaps people wouldn't feel this way - I mean, everybody loves the guitar on Happiness is a Butterfly because it's subtle and artfully done. I'd also like to use Sad Girl as an example - the Spanish guitar that's added to the second verse isn't subtle but it's not exactly in-your-face either; it adds to the track without messing up the overall vibe and making the song messier than it has to be, it's perfectly blended, it sinks into the background that was already established but it's noticeable enough to considerably elevate the track and give you something to look forward to each time you listen.
 
It's these little production "errors" that I believe people have a problem with.
 
Cruel World is an example of a noisy, chaotic track that's beloved by the fanbase. Not everyone wants Lana to be some polished pop princess; they just want to feel as though her songs are treated with the care they deserve.

an entire mood