Shades

lana posting about her album on her private account isn't even that deep anyways, it's like like we're missing any updates, just let her be, honestly

gosh leave the motherfucking woman be. why is this fandom always going for her throat while complaining other fans are shit to her?? i can't understand it

That was the point though . She specifically said she wanted to keep her circle small, and she knows pretty much only the biggest of fans follow her there. It still keeps her somewhat away from the media/general public since it's relatively lowkey. Plus what better way to promote your album than directly to those you know collect multiple vinyl variants, CDs, etc. Sis knows what she's doing 

Wow I really needed to hear this extremely beautiful message

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.
 

Wonderfully put. Found the words that I feel, but could never express eloquently.

One of my favorite lines on the album. It's so simple, but it is so evocative of Lana's essence 

This is beautiful. I agree with a lot of what you wrote - it's deliberately a complicated album, but there's a definite bittersweet resilience to it that I'm really struck by. She's basically saying "This is me, in all of my frustrating messiness and brilliance. Take it or leave it." It's Lana (or Elizabeth) taking inventory of who's still here, 10 years on, revisiting the past, evaluating the present, and making space for the future.

@Shades omg that was so well put, exactly how I feel about the album 

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.
 

this made me even more excited to listen tomorrow, thank you 

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.