smith

i want to play as the one and only robert smith from the cure!
early 80s robert to be a little more specific... 
i've always loved the seventeen seconds/faith/pornography trilogy.
 
 

great great choice! as the log lady says... "laura is the one" 

i want to play as the one and only robert smith from the cure!
early 80s robert to be a little more specific... 
i've always loved the seventeen seconds/faith/pornography trilogy.
 
 

i want to play as the one and only robert smith from the cure!
early 80s robert to be a little more specific... 
i've always loved the seventeen seconds/faith/pornography trilogy.
 
 

great great choice! as the log lady says... "laura is the one" 

great great choice! as the log lady says... "laura is the one" 

i kinda also wanted to say, for what the rest of the world sorta worships of the male ego/ destruction and dominating ie negative parts of divine masc. lana's a kind of solace and haven for things that people might not wanna talk about. unpop opinion and maybe possible *trigger warning* but there are difficult conversations that need and should be had about mental health, and this track's in a way, a kind of breath of fresh air of singing something similar/ around that. 

normally, it's kinda too quick to be talking about that, but sim to BTD's counter approach to songwriting from empowering pop, she makes being vulnerable be ok. there's a poetry in how some of her songs can sound melancholy, but in a way, it can also be liberating and consoling from a relative pov. 

this song's magic, and it's making me fall in love with her as an artist all over again. 

It’s also the fact that like… even with her not caring about streams people are still tuning in by the millions every day and listening to her art. She has no need to appease streaming/TikTok algorithms at this point in her career. 50 million people may not be listening to the same song but 10 million are listening to different pieces of her discography because it’s quality, it’s timeless and it speaks to people’s souls….

I remember when the tracklist we announced, people were concerned about Heroin saying she needs to deliver a good song for such a title, hoping that it will not be cringy, comparing it to already existing songs with that title and claiming that it is a bold move to have a title like that and be able to fulfill the expectations. And in the end, Heroin fucking slayed the existence of every living person.

THE MODERN MANIFESTO OF LUST FOR LIFE - EXPLAINED!
 
One of the things I figured about Lust For Life was that you can split the album's songs into 4 "EPs" (since the album has 16 tracks). First 2 EPs are combination of her older sound and aesthetics, describing the world inside Lana. Last 2 EPs are combination of her newer sound and aesthetics, describing the world outside Lana. Also I noticed that in the end of Lust For Life trailer, she said in the monologue: "Because you, and the music, and this place, are my LOVE, my LIGHT, my LUST for LIFE."
 
So, I split the songs into 4 "EPs" and named each "EP" after those keywords based on the themes.

EP LOVE
1. Love
2. Lust For Life
3. 13 Beaches
4. Cherry
 
EP LUST
1. White Mustang
2. Summer Bummer
3. Groupie Love
4. In My Feelings

EP LIGHT
1. Coachella - Woodstock In My Mind
2. God Bless America - And All The Beautiful Women In It
3. When The World Was At War We Kept Dancing
4. Beautiful People Beautiful Problems

EP LIFE
1. Tomorrow Never Came
2. Heroin
3. Change
4. Get Free

I totally agree, however, if you read any social media when she was announced for Glastonbury.. she was getting so much hate.. and then when she was rumoured for BST, a lot of posts were stating she’s a bad choice as she’d never sell out
 
if she does read the comments online, then I can get why she’d feel nervous to put herself out there for shows, people are just so mean about her for some reason, she seems to be one of the most polarising artists I’ve known! 

I read under some yt Ocean Blvd reaction that this album plays like an actual tunnel and it's bright at the beginning but getting darker and darker. But then, in fact she "Let the light in"   also the fact that the original Tunnel is leading to the beach and she ended album with x VB 
It really made me think.... wish she would talk about it more.

one month guys!!!

A&W to Judah to Candy Necklace is some of the most Lynchian work she's ever done. She channeled him so hard with this run. Blue Velvet indeed, the seediness of what's below a pristine surface. A young girl cartwheeling, the preacher preaching, and the Candy man himself. But the girl is in danger, the preacher is shouting, and the the Candy necklaces don't taste right.

Just leaving this here so it can live on in history.
I’ll forever be in shambles that Lana teased this lyric to me over a YEAR ago.
I didn’t quite understand what she meant by it at the time, but now… I get it… x
 

the way some people cannot wrap their head around the fact that their favorite artist is not a circus animal designed to dance and perform for them 24/7 to "keep them entertained" is truly something
 
i am so glad she does not listen to her "fans". some of them are truly her biggest enemies truly.

The way Lana either created or further developed a style/subgenre of folk with this album. It's so trippy in such an organic and emotional way. A composer. (Thank you Jack too)

I mean this in the nicest and least pretentious possible: I feel sad for people who don’t vibe with this album and don’t consider it her best work. It’s one of the best albums of all time and my personal favorite album of all time. I’ve never seen her songwriting so strong or so personal, so creative (and lord knows she’s always been incredibly creative). This feels like the most Lana album we’ve ever gotten and the most of Lana we’ve ever been given.
 
I understand people have different music tastes and have different experiences and personal ties to certain albums or music. But I really don’t understand how, if you’re a true Lana fan, you don’t like this album or don’t consider it one of her best. I NEVER thought she’d be able to top NFR or her other albums, but this feels almost like it’s in a different realm for me. And that’s not me knocking on any of her past albums because I think just as highly of them as I ever have - it’s more of a testament to how highly I think of this album. 

I still cannot fathom that we got A&W like damn...

wondering what the cover is gonna look like and also wondering what better picture i’m gonna immediately change it to 

I support trap beats on syth just because it would be hilarious 

I see some of y’all still displaying copious amounts of tasteless copy-paste one liners about how Kintsugi and/or Fingertips are boring and should have stayed as poems - as if Lana’s writing hasn’t at least since 2017 been merging the two art forms consistently. Between this and the anti-piano brigade… it’s a tragedy. I see nothing Greek in it 

I've created an 'expanded' DYKTATUOB playlist which includes the sampled/referenced tracks that add's a little extra to the album. (And the Paris and Grandfather samples are major!)
Have a I missed anything? (I didn't add VB as it's quite a major sample already.)
 
The Grants Rocky Mountain High - John Denver Did You Know... Don't Forget Me - Harry Nilsson Sweet Wait For Life - Emile Haynie A&W Shimmy Shimmy Ko Ko Bop - Little Anthony And The Imperials Judah Smith Interlude Candy Necklace (ft John Batiste) Jon Batiste Interlude Kintsugi Fingertips Paris (Texas) - ft SYML I Wanted To Leave - SYML Grandfather... ft RIOPY Flo - RIOPY Let The Light In - ft Father John Misty Margaret  - ft Bleachers Fishtail Peppers - ft Tommy Genesis Angelina - Tommy Genesis Taco Track x VB  
Could add 'Secret Life' after Margaret, and 'Buddys Rendezvous' after Let The Light In.
 

1. did you know that there's a tunnel under ocean blvd
2. taco truck x vb
3. sweet
4. kintsugi
5. fingertips
6. candy necklace
7. a&w
8. peppers
9. grandfather please stand on the shoulders of my father while he's deep-sea fishing
10. paris, texas
11. fishtail
12. the grants
13. let the light in
14. margaret
15. judah smith interlude
16. jon batiste interlude
 

On album at least, Lana Del Ray manages her public image very well. Of late, every new release has added to her mystique, finely blurring the lines between the person and the persona, to a point where one is indistinguishable from the other. There is a tension in her songs that arises from not knowing how much of what are hearing is the real Lana Del Ray standing in partial view – papered over by a collage of archaic 1970s pop culture references – and what is half-truth and outright embellishment. Lyrically she continues to fuse her own mythology with the mythology of California. ...Ocean Blvd rises above the sum of its parts and successfully presents an altered reality, blending fact and fiction, memory and desire, physical geography and the shifting geography of the soul. It is for these reasons that, after the dust settles on this golden creative streak, I think this record is going to be a lot of people's favourite Lana Del Ray album.
The direct contrast to Lana would be a pop amazon like Beyonce, whose career is a nesting doll of personas, seemingly refined by focus groups of images consultants and heavily tailored to an album release/tour cycle. There is nothing wrong with that approach. David Bowie and Madonna laid down the template. It works really well and allows for sudden reinvention.
I prefer something more fluid and contiguous, rather than a jarring transition where I can see the joins. I like artists who at least give the appearance of growing organically. For that to happen they need to follow their creative instincts and commit to a regular release schedule. Lana scratches that itch.