Shades

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.
 

That L/E killed me lizzy we are waiting for you to come back, we love you as much as lana
 
also i went  when i read good mother 

she means she is less of a promoter and more of a producer, album after album, poetry book(s), whatever side projects she working on

a sign from Lana that I need to start living my truth before it’s too late I fear 

Lana signing off of her post with L/E is so sweet. This album to me feels like Lana at the core, and I think this further signifies that. I've always understood and agreed with Lana's sentiment that Lana and Lizzy/Elizabeth are the same person and I think this album truly does show that. I don't know - just thought it was cute that she did that 

Ok I know this is supposed to be funny but I absolutely love that line from Violet Bent Backwards Over the Grass:
 
”and I decided to do nothing about everything”
 
it’s just a very poignant line and I’m always thinking about it.

Everyone in this thread writing think pieces on NFR
 

I think the opposite actually, Lust for Life was an album she played safe after she started getting blasted from the feminist movement and UV lyrics and whatever was happening at the time, then even changed her whole personality in that era for a hot sec. NFR impacted ALL of the recent pop records by being the first one to strip down production, taylor, billie, lorde, clario, etc. followed that sound because NFR was just so refreshing for the time - it's truly the BTD of the 2020s. I would say Blue Banisters is the same level of safe as all of her other records (except lust for life) which is not safe, it's Lana, because it all comes down on to how she wants the vibe to be, she was screaming all crazy during her 2011/2012 concerts because that was just the vibe, she's always seemed comfortable expressing herself through music. I don't think she ever thought about the criticism or playing it safe while making her records (except for LFL and probably Chemtrails).
 
 

it's hard to tell i think, if you lie down solo instrumental reminds slightly of brooklyn baby because of the trumpets, but the guitars on the record dont make a big appearance. Also, the piano on norman was too soft, i think BB have more heavy pianos, but you can see nfr influences on if you lie down piano that sounds like california rythm in couple verses, also violets for roses build an epic instrumental that kinda matches with the nfr vibe. If i could synthetize all that I said, you have the drama and loudiness of uv but with the instrumentals closer to nfr.

I like BB more than NFR simply because the piano is way better lmao 💀

One account has 20 million followers and gets attention from the press. The other account has 200 thousand followers and most people don't know it exists. She wanted to leave social media and make her circle smaller because it's toxic, but she obviously enjoys social media and sharing things, so she decided that occasional updates on the Honeymoon account was a safer alternative. To the general public, she has left social media because the Honeymoon account is still relatively unknown and private. It's really not that complicated.

whoever taught her that “doing nothing” is the best thing to do can catch these hands 

She posted a clip of the new video on Honeymoon with the caption: 
“Shining alone👌🌟
I’ve always loved a video with no real story line. The things that people do naturally without even thinking about it have always been the most interesting moments to capture.
I loved shooting Arcadia and blue Banisters without having a concept and just having my brother and Chris filming me dancing chilling, drinking coffee being stupid, having fun. It’s the little things.
 I always say I do the least promotion of anyone I know but the most work in my backyard. When your inner world flourishes- at some point the outer world will always reflect that back to you what’s really in your heart. Do what you love, 
I think some of the wisest people have taught me that sometimes doing nothing and just listening to your inner voice which at it’s clearest is as near to what God’s voice would advise is the best thing to do. 
Dreaming, staying peaceful, being a good friend, a good mother to animals and friends, making big changes, taking risks that no one else understands, all of this has helped me to continue to follow my true life’s dharma. It can be a winding and lonely road at times- full of adversity- but it’s so worth it. 
All my Love
L/E”

PINK GERANIUMS (2022)
Pink Geraniums is album mixing retro-futuristic flair. It combines hip-hop, trip-hop and R&B vibes with electronic sounds, synths, drums, percussion, muddy trap beats with some sprinkle of psychedelia, desert rock, neo-soul aura. It will have also some dreamy, ambienty touch with grain of piano. Mixture 80s/90s retro/vintage vibes with futuristism is giving great pleasure during listening. That made this album is not only critically acclaimed (91 on MC) but is fan favourite also.
Album is produced by Mike Dean, Kevin Parker, Jeff Bhasker, Emile Haynie, Arca, Kaytranda, Steven Martens, Tim Larcombe, Jack Antonoff.
Cover was made by Neil Krug (in reality by me)
 


 

Juuussstt my take! That this whole IG thing tonight makes me kinda sad tbh bc it shows once again how sensitive she is (even when she doesn't wanna care and just wants to be off in the world doing her own thing in peace), and it's both relatable af and heartbreaking  I hope one day she truly won't give a fuck about what lies the media/attention seekers are spewing and can truly be away and free from it all ya know. Like can she just live her life without hearing about all this nonsense all the time, especially when she takes concrete steps to more or less disappear   

y'all im dumb, i had only been listening to the original music video version this entire time 
it sounds SO MUCH better on the album omg

I was going to say, including bbs (From what I've read about it) dealer, interlude and nonconventional aspects and lyrics is a big FUCK YOU to critics and haters like this is not going to be a good girl tame predictable album like nfr or cocc for you to love, I can be crazy, mad, sad, messy. its who I am  let me do what I'm fucking doing

My father passed away yesterday. To say I'm heartbroken and devastated is an understatement.I cried throughout check-in and luggage check at the airport. Drowning my sorrows in a beer and played the album. I don't even care if it's good. I just want sad Lana songs for the plane ride. The mention of her father on Text Book brought me to tears again. I'm so thankful the album leaked to help me through this awful time, and whether I like it or not later down the line - I'm just grateful she put it out and is as productive and hard-working as she is. We're all blessed.