Shades

deactivating your instagram account & cancelling your album orders because you couldn't follow her private account in the 5 minute time-span she had it open... this isn't healthy  

I'll literally never forget that day. It was 2016 in the middle of the night, around 3am or so for me after I had returned home from a music festival. She had made a post that I commented on, and she followed me quickly after I made the comment! She then followed me on her @lanadelrey account exactly one month + one day later

I can’t sleep at home tonight
Send me a Hilton Hotel
Or a cross on the hill
I’m a lost little girl
Finding my way to you
Arcadia
They built me up three hundred feet tall
Just to tear me down
So I’m leaving with nothing but laughter in this town

 
I remember blasting this song going 90MPH down the highway with one of my best friends on our way towards a Hilton Hotel that I was staying at for an out-of-town TV shoot I was doing. He didn't understand what I was on about, but god is this song gorgeous. & now listening to The Trio coming in after.... WOW WOW WOW!! x

Please enjoy these lyric posts I created <3
I love you, Blue Banisters.

The title track is just as stunning as it was the very first time I heard it. Wow... this album is going to be so amazing... 

NFR is not the magnum opus publications like P*tchfork make it out to be—the one that her new albums need to be compared to ad nauseam. Change my mind. 

BLACK BATHING SUIT HER MAGNUM OPUS

I wasn't completely won over by Blue Banisters upon first listen, but I've listened to it in its entirety several times now- on one long 400km stretch of a highway from 11pm to 3am, by the river under the setting sun walking on top of yellowing leaves, in hot baths until the water turned cool, in the morning as background music to watering my plants and taking care of my bird and just doing silly little mundane things... Somewhere along the way, something clicked. This album is something very special. I will admit it doesn't have the raw, lustful passion of UV, dripping in anger and sex and cheeky recklessness, AKA's drugged out, suicidal haze, or the carefully crafted ever-blue dramatic orchestration of Honeymoon (my favourite Lana albums), but it feels so subtly powerful. It feels like an exhausted and lived woman's recollection of her life. It feels like catharsis, like accepting the baggage and pain of the past and the grace and peace of shedding the anger of the cruelty against her and finally understanding why things are the way they are and one's place in the world. It's not a "happy" album- it's Lana accepting that some parts of her will always be broken, there will always be the stain of her mother's disdain, she will always yearn for horrible lovers and for an idealistic world she can never quite reach, and yet finding happiness despite all of that, in her little home, her little family, in the temporary experiences with every new lover, and her art. In living life as a decent person and just doing what makes her happy.
 
I don't know- it just feels like her truest work (other than Violets), her first truly autobiographical piece of art from start to finish. I love Born to Die so much, but I think any longtime fan can agree it was mostly a dreamed up world as most of Lana's massive unreleased catalogue is, and every album after that started to shed more and more of the fantasy and instead reflect the intricacies of her true world, and BB is the pinnacle of that. This whole release cycle, along with the beautiful BB video (no storyline and yet so incredibly revealing and shockingly personal) and her withdrawing from the public as well as her Honeymoon posts (signing off as L/E made me shit myself)... again, we're witnessing something really special. It just feels so human, when Lana and her world for so long felt so otherworldly and alien. This is an incredibly honest and vulnerable moment in her discography, and I'm not sure we'll reach a place like this with her for another long while.
 
Overall, certainly one of my favourite Lana albums. I'm very proud of her and feeling very sentimental.
 

I wasn't completely won over by Blue Banisters upon first listen, but I've listened to it in its entirety several times now- on one long 400km stretch of a highway from 11pm to 3am, by the river under the setting sun walking on top of yellowing leaves, in hot baths until the water turned cool, in the morning as background music to watering my plants and taking care of my bird and just doing silly little mundane things... Somewhere along the way, something clicked. This album is something very special. I will admit it doesn't have the raw, lustful passion of UV, dripping in anger and sex and cheeky recklessness, AKA's drugged out, suicidal haze, or the carefully crafted ever-blue dramatic orchestration of Honeymoon (my favourite Lana albums), but it feels so subtly powerful. It feels like an exhausted and lived woman's recollection of her life. It feels like catharsis, like accepting the baggage and pain of the past and the grace and peace of shedding the anger of the cruelty against her and finally understanding why things are the way they are and one's place in the world. It's not a "happy" album- it's Lana accepting that some parts of her will always be broken, there will always be the stain of her mother's disdain, she will always yearn for horrible lovers and for an idealistic world she can never quite reach, and yet finding happiness despite all of that, in her little home, her little family, in the temporary experiences with every new lover, and her art. In living life as a decent person and just doing what makes her happy.
 
I don't know- it just feels like her truest work (other than Violets), her first truly autobiographical piece of art from start to finish. I love Born to Die so much, but I think any longtime fan can agree it was mostly a dreamed up world as most of Lana's massive unreleased catalogue is, and every album after that started to shed more and more of the fantasy and instead reflect the intricacies of her true world, and BB is the pinnacle of that. This whole release cycle, along with the beautiful BB video (no storyline and yet so incredibly revealing and shockingly personal) and her withdrawing from the public as well as her Honeymoon posts (signing off as L/E made me shit myself)... again, we're witnessing something really special. It just feels so human, when Lana and her world for so long felt so otherworldly and alien. This is an incredibly honest and vulnerable moment in her discography, and I'm not sure we'll reach a place like this with her for another long while.
 
Overall, certainly one of my favourite Lana albums. I'm very proud of her and feeling very sentimental.
 

I wasn't completely won over by Blue Banisters upon first listen, but I've listened to it in its entirety several times now- on one long 400km stretch of a highway from 11pm to 3am, by the river under the setting sun walking on top of yellowing leaves, in hot baths until the water turned cool, in the morning as background music to watering my plants and taking care of my bird and just doing silly little mundane things... Somewhere along the way, something clicked. This album is something very special. I will admit it doesn't have the raw, lustful passion of UV, dripping in anger and sex and cheeky recklessness, AKA's drugged out, suicidal haze, or the carefully crafted ever-blue dramatic orchestration of Honeymoon (my favourite Lana albums), but it feels so subtly powerful. It feels like an exhausted and lived woman's recollection of her life. It feels like catharsis, like accepting the baggage and pain of the past and the grace and peace of shedding the anger of the cruelty against her and finally understanding why things are the way they are and one's place in the world. It's not a "happy" album- it's Lana accepting that some parts of her will always be broken, there will always be the stain of her mother's disdain, she will always yearn for horrible lovers and for an idealistic world she can never quite reach, and yet finding happiness despite all of that, in her little home, her little family, in the temporary experiences with every new lover, and her art. In living life as a decent person and just doing what makes her happy.
 
I don't know- it just feels like her truest work (other than Violets), her first truly autobiographical piece of art from start to finish. I love Born to Die so much, but I think any longtime fan can agree it was mostly a dreamed up world as most of Lana's massive unreleased catalogue is, and every album after that started to shed more and more of the fantasy and instead reflect the intricacies of her true world, and BB is the pinnacle of that. This whole release cycle, along with the beautiful BB video (no storyline and yet so incredibly revealing and shockingly personal) and her withdrawing from the public as well as her Honeymoon posts (signing off as L/E made me shit myself)... again, we're witnessing something really special. It just feels so human, when Lana and her world for so long felt so otherworldly and alien. This is an incredibly honest and vulnerable moment in her discography, and I'm not sure we'll reach a place like this with her for another long while.
 
Overall, certainly one of my favourite Lana albums. I'm very proud of her and feeling very sentimental.
 

I wasn't completely won over by Blue Banisters upon first listen, but I've listened to it in its entirety several times now- on one long 400km stretch of a highway from 11pm to 3am, by the river under the setting sun walking on top of yellowing leaves, in hot baths until the water turned cool, in the morning as background music to watering my plants and taking care of my bird and just doing silly little mundane things... Somewhere along the way, something clicked. This album is something very special. I will admit it doesn't have the raw, lustful passion of UV, dripping in anger and sex and cheeky recklessness, AKA's drugged out, suicidal haze, or the carefully crafted ever-blue dramatic orchestration of Honeymoon (my favourite Lana albums), but it feels so subtly powerful. It feels like an exhausted and lived woman's recollection of her life. It feels like catharsis, like accepting the baggage and pain of the past and the grace and peace of shedding the anger of the cruelty against her and finally understanding why things are the way they are and one's place in the world. It's not a "happy" album- it's Lana accepting that some parts of her will always be broken, there will always be the stain of her mother's disdain, she will always yearn for horrible lovers and for an idealistic world she can never quite reach, and yet finding happiness despite all of that, in her little home, her little family, in the temporary experiences with every new lover, and her art. In living life as a decent person and just doing what makes her happy.
 
I don't know- it just feels like her truest work (other than Violets), her first truly autobiographical piece of art from start to finish. I love Born to Die so much, but I think any longtime fan can agree it was mostly a dreamed up world as most of Lana's massive unreleased catalogue is, and every album after that started to shed more and more of the fantasy and instead reflect the intricacies of her true world, and BB is the pinnacle of that. This whole release cycle, along with the beautiful BB video (no storyline and yet so incredibly revealing and shockingly personal) and her withdrawing from the public as well as her Honeymoon posts (signing off as L/E made me shit myself)... again, we're witnessing something really special. It just feels so human, when Lana and her world for so long felt so otherworldly and alien. This is an incredibly honest and vulnerable moment in her discography, and I'm not sure we'll reach a place like this with her for another long while.
 
Overall, certainly one of my favourite Lana albums. I'm very proud of her and feeling very sentimental.
 

I wasn't completely won over by Blue Banisters upon first listen, but I've listened to it in its entirety several times now- on one long 400km stretch of a highway from 11pm to 3am, by the river under the setting sun walking on top of yellowing leaves, in hot baths until the water turned cool, in the morning as background music to watering my plants and taking care of my bird and just doing silly little mundane things... Somewhere along the way, something clicked. This album is something very special. I will admit it doesn't have the raw, lustful passion of UV, dripping in anger and sex and cheeky recklessness, AKA's drugged out, suicidal haze, or the carefully crafted ever-blue dramatic orchestration of Honeymoon (my favourite Lana albums), but it feels so subtly powerful. It feels like an exhausted and lived woman's recollection of her life. It feels like catharsis, like accepting the baggage and pain of the past and the grace and peace of shedding the anger of the cruelty against her and finally understanding why things are the way they are and one's place in the world. It's not a "happy" album- it's Lana accepting that some parts of her will always be broken, there will always be the stain of her mother's disdain, she will always yearn for horrible lovers and for an idealistic world she can never quite reach, and yet finding happiness despite all of that, in her little home, her little family, in the temporary experiences with every new lover, and her art. In living life as a decent person and just doing what makes her happy.
 
I don't know- it just feels like her truest work (other than Violets), her first truly autobiographical piece of art from start to finish. I love Born to Die so much, but I think any longtime fan can agree it was mostly a dreamed up world as most of Lana's massive unreleased catalogue is, and every album after that started to shed more and more of the fantasy and instead reflect the intricacies of her true world, and BB is the pinnacle of that. This whole release cycle, along with the beautiful BB video (no storyline and yet so incredibly revealing and shockingly personal) and her withdrawing from the public as well as her Honeymoon posts (signing off as L/E made me shit myself)... again, we're witnessing something really special. It just feels so human, when Lana and her world for so long felt so otherworldly and alien. This is an incredibly honest and vulnerable moment in her discography, and I'm not sure we'll reach a place like this with her for another long while.
 
Overall, certainly one of my favourite Lana albums. I'm very proud of her and feeling very sentimental.
 

I wasn't completely won over by Blue Banisters upon first listen, but I've listened to it in its entirety several times now- on one long 400km stretch of a highway from 11pm to 3am, by the river under the setting sun walking on top of yellowing leaves, in hot baths until the water turned cool, in the morning as background music to watering my plants and taking care of my bird and just doing silly little mundane things... Somewhere along the way, something clicked. This album is something very special. I will admit it doesn't have the raw, lustful passion of UV, dripping in anger and sex and cheeky recklessness, AKA's drugged out, suicidal haze, or the carefully crafted ever-blue dramatic orchestration of Honeymoon (my favourite Lana albums), but it feels so subtly powerful. It feels like an exhausted and lived woman's recollection of her life. It feels like catharsis, like accepting the baggage and pain of the past and the grace and peace of shedding the anger of the cruelty against her and finally understanding why things are the way they are and one's place in the world. It's not a "happy" album- it's Lana accepting that some parts of her will always be broken, there will always be the stain of her mother's disdain, she will always yearn for horrible lovers and for an idealistic world she can never quite reach, and yet finding happiness despite all of that, in her little home, her little family, in the temporary experiences with every new lover, and her art. In living life as a decent person and just doing what makes her happy.
 
I don't know- it just feels like her truest work (other than Violets), her first truly autobiographical piece of art from start to finish. I love Born to Die so much, but I think any longtime fan can agree it was mostly a dreamed up world as most of Lana's massive unreleased catalogue is, and every album after that started to shed more and more of the fantasy and instead reflect the intricacies of her true world, and BB is the pinnacle of that. This whole release cycle, along with the beautiful BB video (no storyline and yet so incredibly revealing and shockingly personal) and her withdrawing from the public as well as her Honeymoon posts (signing off as L/E made me shit myself)... again, we're witnessing something really special. It just feels so human, when Lana and her world for so long felt so otherworldly and alien. This is an incredibly honest and vulnerable moment in her discography, and I'm not sure we'll reach a place like this with her for another long while.
 
Overall, certainly one of my favourite Lana albums. I'm very proud of her and feeling very sentimental.
 

I wasn't completely won over by Blue Banisters upon first listen, but I've listened to it in its entirety several times now- on one long 400km stretch of a highway from 11pm to 3am, by the river under the setting sun walking on top of yellowing leaves, in hot baths until the water turned cool, in the morning as background music to watering my plants and taking care of my bird and just doing silly little mundane things... Somewhere along the way, something clicked. This album is something very special. I will admit it doesn't have the raw, lustful passion of UV, dripping in anger and sex and cheeky recklessness, AKA's drugged out, suicidal haze, or the carefully crafted ever-blue dramatic orchestration of Honeymoon (my favourite Lana albums), but it feels so subtly powerful. It feels like an exhausted and lived woman's recollection of her life. It feels like catharsis, like accepting the baggage and pain of the past and the grace and peace of shedding the anger of the cruelty against her and finally understanding why things are the way they are and one's place in the world. It's not a "happy" album- it's Lana accepting that some parts of her will always be broken, there will always be the stain of her mother's disdain, she will always yearn for horrible lovers and for an idealistic world she can never quite reach, and yet finding happiness despite all of that, in her little home, her little family, in the temporary experiences with every new lover, and her art. In living life as a decent person and just doing what makes her happy.
 
I don't know- it just feels like her truest work (other than Violets), her first truly autobiographical piece of art from start to finish. I love Born to Die so much, but I think any longtime fan can agree it was mostly a dreamed up world as most of Lana's massive unreleased catalogue is, and every album after that started to shed more and more of the fantasy and instead reflect the intricacies of her true world, and BB is the pinnacle of that. This whole release cycle, along with the beautiful BB video (no storyline and yet so incredibly revealing and shockingly personal) and her withdrawing from the public as well as her Honeymoon posts (signing off as L/E made me shit myself)... again, we're witnessing something really special. It just feels so human, when Lana and her world for so long felt so otherworldly and alien. This is an incredibly honest and vulnerable moment in her discography, and I'm not sure we'll reach a place like this with her for another long while.
 
Overall, certainly one of my favourite Lana albums. I'm very proud of her and feeling very sentimental.
 

I wasn't completely won over by Blue Banisters upon first listen, but I've listened to it in its entirety several times now- on one long 400km stretch of a highway from 11pm to 3am, by the river under the setting sun walking on top of yellowing leaves, in hot baths until the water turned cool, in the morning as background music to watering my plants and taking care of my bird and just doing silly little mundane things... Somewhere along the way, something clicked. This album is something very special. I will admit it doesn't have the raw, lustful passion of UV, dripping in anger and sex and cheeky recklessness, AKA's drugged out, suicidal haze, or the carefully crafted ever-blue dramatic orchestration of Honeymoon (my favourite Lana albums), but it feels so subtly powerful. It feels like an exhausted and lived woman's recollection of her life. It feels like catharsis, like accepting the baggage and pain of the past and the grace and peace of shedding the anger of the cruelty against her and finally understanding why things are the way they are and one's place in the world. It's not a "happy" album- it's Lana accepting that some parts of her will always be broken, there will always be the stain of her mother's disdain, she will always yearn for horrible lovers and for an idealistic world she can never quite reach, and yet finding happiness despite all of that, in her little home, her little family, in the temporary experiences with every new lover, and her art. In living life as a decent person and just doing what makes her happy.
 
I don't know- it just feels like her truest work (other than Violets), her first truly autobiographical piece of art from start to finish. I love Born to Die so much, but I think any longtime fan can agree it was mostly a dreamed up world as most of Lana's massive unreleased catalogue is, and every album after that started to shed more and more of the fantasy and instead reflect the intricacies of her true world, and BB is the pinnacle of that. This whole release cycle, along with the beautiful BB video (no storyline and yet so incredibly revealing and shockingly personal) and her withdrawing from the public as well as her Honeymoon posts (signing off as L/E made me shit myself)... again, we're witnessing something really special. It just feels so human, when Lana and her world for so long felt so otherworldly and alien. This is an incredibly honest and vulnerable moment in her discography, and I'm not sure we'll reach a place like this with her for another long while.
 
Overall, certainly one of my favourite Lana albums. I'm very proud of her and feeling very sentimental.
 

I wasn't completely won over by Blue Banisters upon first listen, but I've listened to it in its entirety several times now- on one long 400km stretch of a highway from 11pm to 3am, by the river under the setting sun walking on top of yellowing leaves, in hot baths until the water turned cool, in the morning as background music to watering my plants and taking care of my bird and just doing silly little mundane things... Somewhere along the way, something clicked. This album is something very special. I will admit it doesn't have the raw, lustful passion of UV, dripping in anger and sex and cheeky recklessness, AKA's drugged out, suicidal haze, or the carefully crafted ever-blue dramatic orchestration of Honeymoon (my favourite Lana albums), but it feels so subtly powerful. It feels like an exhausted and lived woman's recollection of her life. It feels like catharsis, like accepting the baggage and pain of the past and the grace and peace of shedding the anger of the cruelty against her and finally understanding why things are the way they are and one's place in the world. It's not a "happy" album- it's Lana accepting that some parts of her will always be broken, there will always be the stain of her mother's disdain, she will always yearn for horrible lovers and for an idealistic world she can never quite reach, and yet finding happiness despite all of that, in her little home, her little family, in the temporary experiences with every new lover, and her art. In living life as a decent person and just doing what makes her happy.
 
I don't know- it just feels like her truest work (other than Violets), her first truly autobiographical piece of art from start to finish. I love Born to Die so much, but I think any longtime fan can agree it was mostly a dreamed up world as most of Lana's massive unreleased catalogue is, and every album after that started to shed more and more of the fantasy and instead reflect the intricacies of her true world, and BB is the pinnacle of that. This whole release cycle, along with the beautiful BB video (no storyline and yet so incredibly revealing and shockingly personal) and her withdrawing from the public as well as her Honeymoon posts (signing off as L/E made me shit myself)... again, we're witnessing something really special. It just feels so human, when Lana and her world for so long felt so otherworldly and alien. This is an incredibly honest and vulnerable moment in her discography, and I'm not sure we'll reach a place like this with her for another long while.
 
Overall, certainly one of my favourite Lana albums. I'm very proud of her and feeling very sentimental.
 

I wasn't completely won over by Blue Banisters upon first listen, but I've listened to it in its entirety several times now- on one long 400km stretch of a highway from 11pm to 3am, by the river under the setting sun walking on top of yellowing leaves, in hot baths until the water turned cool, in the morning as background music to watering my plants and taking care of my bird and just doing silly little mundane things... Somewhere along the way, something clicked. This album is something very special. I will admit it doesn't have the raw, lustful passion of UV, dripping in anger and sex and cheeky recklessness, AKA's drugged out, suicidal haze, or the carefully crafted ever-blue dramatic orchestration of Honeymoon (my favourite Lana albums), but it feels so subtly powerful. It feels like an exhausted and lived woman's recollection of her life. It feels like catharsis, like accepting the baggage and pain of the past and the grace and peace of shedding the anger of the cruelty against her and finally understanding why things are the way they are and one's place in the world. It's not a "happy" album- it's Lana accepting that some parts of her will always be broken, there will always be the stain of her mother's disdain, she will always yearn for horrible lovers and for an idealistic world she can never quite reach, and yet finding happiness despite all of that, in her little home, her little family, in the temporary experiences with every new lover, and her art. In living life as a decent person and just doing what makes her happy.
 
I don't know- it just feels like her truest work (other than Violets), her first truly autobiographical piece of art from start to finish. I love Born to Die so much, but I think any longtime fan can agree it was mostly a dreamed up world as most of Lana's massive unreleased catalogue is, and every album after that started to shed more and more of the fantasy and instead reflect the intricacies of her true world, and BB is the pinnacle of that. This whole release cycle, along with the beautiful BB video (no storyline and yet so incredibly revealing and shockingly personal) and her withdrawing from the public as well as her Honeymoon posts (signing off as L/E made me shit myself)... again, we're witnessing something really special. It just feels so human, when Lana and her world for so long felt so otherworldly and alien. This is an incredibly honest and vulnerable moment in her discography, and I'm not sure we'll reach a place like this with her for another long while.
 
Overall, certainly one of my favourite Lana albums. I'm very proud of her and feeling very sentimental.
 

i am the most excited for blue banisters than i have been for the album releases i’ve experienced (nfr, violet, chemtrails). the amazing unreleased, gorgeous album covers and prerelease singles are really amazing and something i’m so so excited by. i hope you guys feel the same closer to the release, or after you hear it!! 

I am not a a fan of her last albums.
 
Norman Fucking Rockwell, Chemtrails Over The Country Club, and Blue Bannisters (possibly because Arcadia).
(like a few songs but not adore)
Not that i hate but i just don't feel the same as the others.
I see her evolving as a musician and is really a natural thing to change your music, and i understand and respect that.
I just can't hate Lana's music, because the lyrics and melody are too good, she's a finest lyrism musician.

The outstretched tongue and middle finger in the Arcadia video is immature and destroys the credibility of the preceding four minutes.

I love Lana's nose job. Apparently it's botched because the tip wasn't supposed to be that dramatic and upturned but it looks so stereotypically old Hollywood and goes perfectly with her image. 

I like y'all but this honeymoon slander is making me nauseous 

The Thunder rework should not have happened. It sucked all of the momentum and energy out of the track. Even when the percussion finally kicks in it sounds kinda lame and the underusage of the backing singers is a crime

This deserves a warning point

What's relatable about being drunk, traveling around the country club with sugar daddies who love cocaine or men who hit you and it feeling like a kiss? You can pick and choose almost any line from any LDR song ever to relate or not relate to it. No, I don't relate to swimming in a pool with Nikki Lane and Jenny either, but I have related to a man promising me happiness and a future, to then never show and that close intimacy with friends and family to help heal from the pain. There are valid points being brought up here, especially about the stream of consciousness nature of her recent lyricism which isn't for everyone.  If you're mad about the mythology of Lana Del Rey being shattered into pieces or just plain don't like her lyricism lately, just say that though. Don't pick and choose one single line from a four minute song and not expect people to turn that around on almost any of her past work. Y'all are acting like songs such as National Anthem, Carmen, Sad Girl, Fucked My Way Up to the Top, Lolita are straight out of the Shakespeare quartos