xAlex

It was a joke, everyone, calm down. But I will admit, there's a lot to talk about regarding Twigs and I'd totally argue that one thread just isn't enough - at least for me. I recognize that she isn't huge so the site would likely die. Otherwise I'd be all about it.

Petition to start a twigsboards, lmao. I could use a thread of "most anticipated musical moments in a twigs song" I'm partial to the subtle nuances that pack punch, like how she swaps her falsetto "girl" for the deepened/manipulated "girl" when she says "is she the girl that's in the video" for the second time. It's at 0:14. And the "dooooooooooooooo" at the end of preface (1:17) that she just launches

Well, yeah, to be fair, I haven't heard much explicit music at all. The thing about twigs for me was that initially, her songs aren't stand outs. It took a bit for me to get into them because the melodies don't really pop, but once you let the song take you where it wants you to go you'll have the lines stuck in your head for days. Her songs sound like they were crafted on another world.

Not a fan of Lindsay Zoladz. She misses the mark when it comes to Lana. the bitch doesn't like Florida Kilos…wtf? get out

My Ranking: Hours Two Weeks Video Girl Preface Pendulum Numbers Lights On Closer Give Up Kicks BTW, this is the most explicit album I've ever heard. Hours is disgustingly intimate, provocative, and sexy. But maybe I only feel this way because I thought she was saying "I could kiss you for hours / so deep in me now" what if that is what she's saying?

https://www.youtube.com/watch?v=vhSUh7tx9J4 why can't this be like, 4 times longer? this is my favorite thing

all hail kate happy belated katemas

Where the fuck did this gem go?! https://www.youtube.com/watch?v=P63viLs2ErY P.S. tbh I don't like Tough Love at all…I want more impressive soul shit like Running

Does anyone know the release date for this? Is it really in four days??

It is, though. Read Sasha Geffen's review at Consequence of Sound, she argues it pretty well. i love the final version of DMD idgaf

Beautifully written (though trite at times), decently insightful, and well-researched. However, I don't really get much from this that hasn't already been said before, and I don't appreciate the jabs at BTD masterpieces BJ and DMD.

Are these just snippets of commentary or that's how they cut it???

I don't hear the need for a beat drop after this snippet? Hopefully she leaves that shit behind. She said this album wasn't going to sound like Electra Heart. In fact, it just sounds like a power-ballad, and it's exactly what I want from her. I love love love what we can hear of the vocals. This shit is going to destroy me.

It's certainly the most immediate and radio-friendly. I can't see anything else on UV being as commercially successful as Ultraviolence. It's personally my favorite song aside from Sad Girl. I'm thrilled and I can't wait for the vid!

Please don't let this discredit me because I absolutely ADORE the song, but I don't get what you're all raving about that happens in the final chorus of Mermaid Motel. Can someone explain why I'm missing this? I know there's a whole technical post about what's going on musically at that point, but it's pretty vague and I've listened to it a million times and even consulted a friend and we can't seem to get it to click. What's the difference between the last chorus and the others? How is it one of the best moments in pop music of the last decade if it's so subtle that I can't even notice it? Anyways, my all time favorite moment in a Lana song is that part at the end of Cola. You've all heard it but I want to articulate why I love it so much. I feel like the whole song builds up this sexual tension: she kicks it off with the infamously provacative opener: "my pussy tastes like pepsi-cola," then raises it with her falsetto, singing "Harvey's in the sky with diamonds," and stimulates even more with the chorus' "come on, come on baby"s. All the while, the electric guitar is plucking about in the background (and the violin production is closing in/rushing the song). She brings it back to a simmer for the second verse, and works it back up again to maintain the tension during the bridge, where she trails off with some pretty satisfying "why, come on, come on, oooh" high notes. But the foreplay isn't over. She leads it back into a few repetitions of the chorus that are super well-produced and interesting because while she's singing "come on, come on, come on baby" the guitar is slowly climbing higher and higher and meandering around, flirting with her voice. It continues to do this through the best part of the song: the final three times that she repeats "my pussy tastes like pepsi-cola" where in the background she is moaning/singing as the guitar is still climbing, but it won't resolve until about 4:06 -- after the third and final "my pussy tastes like pepsi-cola!" as the track is actually fading out…those final three guitar notes are what I'm waiting for in the ENTIRE song. It's a glorious, sexy, triumphant and satisfying climax to the song and I freak out and blush every time. Damn, it's so badass. I also think the part where she whispers "it's been a long time" in Trash Magic is a stroke of brilliance in theory and execution. I'll explain: In a super old interview, Lana explained that this song was written about a hotel room she was staying in that she decorated with tinsel from a dollar store down the street. I interpret this song as an innocent plea to an ex to come to this ghetto-fancy hotel room and reconnect, but it's enigmatic and ethereal undertones suggest a darker motive. The chorus is the sweet plea, "don't ya want to come to my motel, honey?" Throughout the song, she works to justify her well-intentioned invitation by arguing that it comes from a good place and she really, truly loves her ex ("Don't you know that I have really never love nobody but you?"). The verses illustrate the setting and reminisce on good times the pair shared. She begs and begs through the entire song, the chorus repeats a lot until it becomes a sweet, catchy little melody replaying in your head. Then it gets a little more creepy when she begs for empathy: "all I want is to feel good, you know?" and then she goes into the sensual and siren-like repetition of "come on now, if you want to" and finally her true motivation becomes clear when she reveals that "it's been a long time…" *gasp!* Shame on you, you horn-dog! And then we're launched back into the chorus. That right there is one of the most innocently sinister and satisfying moments of pop music of the last decade. Unfortunately, this part is left out of the live performance of this song. However, I think she does something else genius in her live performance of this that makes me love her in a different way. When she performed in her Lizzy days, she seemed to have a different way of connecting with the audience. A lot of her songs were kind of conversational with the audience, so she would often pitch a character to them and then become that character. She does this during the spoken part of that song: it's right after "and you look even more handsome than you did on that day, that i met you" (she's still explaining what she said to him there) then she jumps right into character here for "how do you spend your niiiiiights, honey, still watching' tv?" Truly stunning. She also does this during her performance of End of the World, although it's a bit more subtle. It's after the second time she asks "why does my heart go on beating?" and someone laughs (it seems like that question is directed towards the audience). Then she jumps into her pouty character and reflectively croons, "why do these eyes of mine cry?" I love that part. I know everyone has already listened to these songs a million times and I'm not sure how well I did these parts justice, but they are all seriously so sublime. Someone please tell me I articulated this perfectly and that they agree with me

Why does For K Part 2 (rather, Rehab) sound like it's written about Jimmy? Didn't they meet in Rehab? She mentions she likes his music, his long hair (gives me the local rockstar vibe), etc. Sometimes I think jimmy's the dude she was talking about when she said all of her songs are about the same guy. (I've only read like half of this thread. Hope it's not obvious)

this is complete bullcrap, right?

marina's soon is worse lmao

YESSSSSSSSSSS!!! I thrive off of the questions that ask about certain songs and what mindset she was in when she wrote them. Bravo to the interviewer for actually being interested in the music. I will say that I wish we could just move past the fact that she's a highly criticized artist. That's well-known at this point and it probably drags her down when she's reminded of that all the time. She needs to know how interested people are in her songs and creative process! Love the short PWYC anecdote. My favorite part of it all is that her goal is to create music that fits in with the stuff she enjoys listening to. I totally get that from Ultraviolence and her describing it like that brings a new layer of enjoyment to listening to the record.

Holy shit, her Off The Cuff performance of Only Love Can Hurt Like This is phenomenal. I feel like as a performer she is a mixture of the animated, theatrical Lana (of "Million Dollar Man" and "Without You") and the passionate, vocal acrobat (of Cola).

1. How did you discover Lana? When and What Era? I saw a thread about her on these "ukmix" forums back when she had just released Video Games and I watched her homemade video for it. 2. First song(s)? I watched Video Games and Diet Mountain Dew, wrote her off, then came back to fall in love with Radio and Carmen (so those were the first songs that hooked me). 3.what did you think? I was not into it…I thought it was awkward that she filmed her face so much for her videos (now I can't get enough of that). I also thought she was just trying to pander to like, middle-schoolers or teen dudes with "Video Games" and "Diet Mtn Dew" so I discarded her for a long time. Once BTD came out my friends were immediately super into her so it rubbed off on me. I was attracted to her quirky lyrics and wordplay so I downloaded it and fell in love and the obsession grows every day. 4. Your favourite song(s)? I have waves of favorite songs, so in chronological order (divided into sections lol), my favorites are: BTD: Carmen, Radio, Blue Jeans, MDM, Without You, Off To The Races Paradise: Body Electric, Cola Ultraviolence: UV, Sad Girl, Florida Kilos AKA: Little Girls, QOTGS, Yayo, Mermaid Motel, Kill Kill, For K Part 2, Unreleased: KOL, Is It Wrong, Spender, DICWB, Serial Killer, Go Go Dancer, Ghetto Baby, Put The Radio On, Afraid, Paris, Puppy Love, Never Let Me Go, Queen of Disaster, Summer Wine, Hollywood's Dead, JFK, Trash, St. Tropez, HDB, YCBTB, TVIB&W, Catch and Release, my current fave: CWYCMA 5. Least favourite song(s)? Sirens/May Jailer hasn't grown on me yet. There's a handful of songs I haven't really listened to or I'll skip a lot. I think I like both This is What Makes Us Girls and Money Power Glory less than most fans. The only song I can't stand is Guns and Roses. 6. What song(s) "grew" on you? Blue Jeans really kicked my ass after Carmen and Radio got me into her. Yayo - I didn't get it at first but it's heavenly HDB and YCBTB- I thought they were kinda fun joke-y songs like Go Go Dancer, Paris, Puppy Love, but they're actually badass. Once I could spit out the lyrics to OTTR it became my favorite from BTD. All of AKA grew on me once I got into Mermaid Motel and Trash. West Coast too 7. Whats your favourite Lana era as of now? (May jailer, Lizzy Grant, Lana Del Rey) Late late Lizzy/Early Lana (Kinda Outta Luck video) 8. Favourite Album(s)? BTD it's just classic i love it 9. Least favourite(s) ? Sirens /From The End sorry 10. Favourite song preformed live? Trash, MDM and YCBTB, OTTR (the first time she performs this omg I used to watch it every day senior year after school), Without You at Amoeba, 11. First song/Album purchased/Downloaded? Born to Die Deluxe Edition 12. Favourite song quote/lyric? A MILLION but some standouts that I can think of right now glancing at my lana songs: "Is it wrong, wrong that I think it's kind of fun when I hit you in the back of the head with a gun?" "come on, you know you like little girls" all the imagistic goodness of OTTR "he says to be cool but i'm already coolest. I said to get real, don't you know who you're dealing with?" "you don't get it, you just don't get it - you've already forgotten even though I just said it!" "you've got your eye-liner, long hair, walkin' round like you don't care, you've got me in the back of your car like a star" "is she a ride or die bitch? does she make you shiver under your skin?" all of carmen "i want my cake and i want to eat it too, i want to have fun and be in love with you" the blue jeans second verse omg i could just sit here and pick out my favorite lines from every song so i'll just stop

Yayo vs. Cola

Sorry to bump but I just discovered this song (it was one of the few that slipped through my radar) and it seriously takes me away to another place. The version with the brass…it captures a visual moment in time so well. A youtube comment on one of the videos with the audio for this song describes the feeling I get with accuracy: "it seriously reminds me of being in the passenger seat next to a guy I like, just cruising down an empty highway, while looking out the window at the city skyline." Its kinda got a Quadron/Robin Hannibal (also of Rhye) vibe to it. So relaxing, so groovy, so sassy, so nostalgic. I'm in love with it. It seems to be just as divisive as Lana herself is, though, interestingly enough - some people really hate it. I'm interested in it's backstory too. It doesn't really sound like anything else she's ever done, and especially if its from 2008? It doesn't really bridge any sonic gaps between Kill Kill and AKA or AKA and BTD. I wish Lana released this and went this direction with all her music. I'm so curious about this song and I want more where it came from. And why do some people love it and some people hate it?

Yes! I love this. They articulated perfectly some of the reasons why I love Lana so much (how she "gets" into character in her songs) and defended her honor as an artist. This was great.

But it's sooooooo good (I'm rooting for a lizzie revival)