daphnedinkley

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

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.

Ok some of y'all are being too much comparing NFR to Chuck's photography like lmao thats extreme damn...

Cruel World - 35 (-1)
Ultraviolence - 21
Shades of Cool - 52
West Coast - 40 (+1)
Pretty When You Cry - 45
Black Beauty - 47

Exactly it's not to say that I don't like NFR, or that I don't think it's a bad album, I just couldn't care less for Jack's production on this one. To me it just falls flat comparatively to all her others albums (even Lust for Life).
 
Even the songs that I absolutely love on this album there are things I hate about the production (cue to The greatest, Norman Fucking Rockwell and California). The piano on NFR sounds like it was recorded with the cheapest microphone ever it sounds so bad you guys and also the instrumentals on The greatest... like the entire instrumentals lack bass and when it sorta pop off after she sings "I guess I'm signing off after all" it sounds so distorted and cheap, and it's a shame because that's like the best song on the record for me and even there the production is super lackluster. Also California pretty much sounds like a demo.

C'mon down to Florida I've got something for ya...

Agreeee, I've legit been saying this since Lana released MAC... From a production standpoint Norman Fucking Rockwell is honestly my least favorite album, it sounds so flat an subdued, and also I don't know what happened or didn't happened during the production, or what got lost during the mixing, but this album it's just lacking... in general. Honestly, the recording process is a mess, it sounds really disjointed and cheaply recorded (vocals and instruments), sometimes like the instrumentals legit sound like they were recorded by some high school band or something, it's bad. Jack ain't it at all, sorry fanboys. He doesn't challenge Lana at all and it shows.
 
Now unto Kevin Parker... that's something I definitely can get behind, I haven't really been a fan of what he produced with other artists (except his work on Uptown Special and that one song with Kali Uchis) but his solo work his impeccable! Unlike Jack, his production style is extremely polished and well balanced, literally nothing to complain about! I want some Lana Impala!

Please no more references to California, no more songs about her being blue, no more songs about her gowns and her baby. Lana needs to go to the nearest Barnes & Nobles and grab some books and learn different words asap, improve that vocabulary sis! Thesaurus is free for gods sake...

no it's gonna be a ska punk album <3

this is hard to articulate but I would like her to make a distinctly different album with White Hot Forever. the singles of NFR made me think it would be very different from anything she'd released before, but in reality a lot of the album tracks, while amazing, could have fitted well on other albums. In WHF I would love for her to do more surfy rock vibes but try make a few bangers. I know Lana and bangers in the same sentence might seem crazy, but I mean more explosive stuff like California. I know there is huge potential with her having grand vocals, zingy and glitzy guitars, and dope retro synths. think somewhat similar to BØRNS but with a sound that fits Lana's voice a bit better. 
 
also, something huge I would LOVE to see; the return of sugar-voice Lana. her only studio songs which I consider to have this voice are OTTR and Radio, where she has that high-pitched super-sweet voice which I adore. I would looooove to see that in a rock setting.

The Greatest has been sent to Italian radios as a single 
 
taste found

Everytime ive something to say about this record nd the music I stop myself and think. How tf am I gonna articulate my sense of hesitant wonder this time? I'm honestly just shook

I'm really conflicted because on one hand the music "critic" in me recognizes how objectively good this album is and totally agrees that she is on another songwriting planet now yet the music "fan" in me does not put this album on as often as I do songs from her other albums. I love the standouts like "Cinnamon Girl" and "California", and its a great overall mood album to put on while doing something else, but I lost interest in the deep cuts way quicker than I did for Born to Die or Paradise. 
 
I also feel dirty that if "Doin' Time" were an original then it would be my favorite on the album (except maybe "Venice Bitch"). Its so fun and light and interesting. 

I think this is exactly my problem with the track and why I can't love it like everyone else does - the messy raw vocal could work, but the song needs more of a grunge vibe to really pull it off and make the song special, and like you said with the crazy guitars that could've given an UV-esque vibe.

I think this is exactly my problem with the track and why I can't love it like everyone else does - the messy raw vocal could work, but the song needs more of a grunge vibe to really pull it off and make the song special, and like you said with the crazy guitars that could've given an UV-esque vibe.

I think this is exactly my problem with the track and why I can't love it like everyone else does - the messy raw vocal could work, but the song needs more of a grunge vibe to really pull it off and make the song special, and like you said with the crazy guitars that could've given an UV-esque vibe.

I think this is exactly my problem with the track and why I can't love it like everyone else does - the messy raw vocal could work, but the song needs more of a grunge vibe to really pull it off and make the song special, and like you said with the crazy guitars that could've given an UV-esque vibe.

Greta Thunberg who? Lana is truly the environmentalist of our century. Queen of recycling the same lines, songs and videos over and over. She should be the one nominated for Nobel Prize of Peace