sansafuckingstark

this. my problem with coachella is that it's literally her phone-recorded vocals and then they just added the production over it, when it should've been the other way around.

i can't imagine that this will be true, but obvs it will depend on subjective tastes. i don't think any of her records have been terrible or even bad, though some have been uneven (thinking of LFL mostly). there might be some songs on it i don't care for, but surely there will be ones i adore as well.

Hi ya'll i finally made a lanaboards account!!
I followed the NFR pre-release thread and this one up until now, but im really excited to finally have my own account an be able to participate
COCC coming for AOTY

all the flower things make 0 sense apart from BTD, UV and LFL

I feel like there is going to be a strong surf-haze, dream-guitar and neo-noir feel to this record with a possible return to “Hawaiian Glam Metal” as a lot of Lana’s activity lately has been inspired by Hawaii.
 
1. For starters, she went to Hawaii with a large group of friends and family at the end of 2019. We know she is very responsive to place, her trip to Hawaii likely inspiring the next few points.
 
2. She followed a lot of accounts of families with new babies who happen to live in Hawaii, most notably @/ockeydockey; in a DM to her, Lana wrote “maybe it’s the quarantine that’s got me Hawaii dreaming”.
 
3. She posted a clip to Instagram from the movie “From Here to Eternity” which deals with the lives and romances of soldiers during the attack on Pearl Harbour in Hawaii. Perhaps the quality, technicalities and plot of the film will see half of the album adopt a noirish sound and theme while its location will see other songs sound surfy and summery.
 
4. Lana’s recent look with her blonde hair and long nails draw back to her Lizzy era when “Hawaiian Glam Metal” was her self-proclaimed signature genre. It’s safe to speculate that perhaps a surfier/noir sound on COTCC had her feeling nostalgic for the aesthetic and look she had at the time. We also see this reflected in her recent decision to don a pair of huge bamboo-golden hoops with words in the centre on her birthday, similar to ones she wore frequently in 2009.
 
5. In the second video of Patent Leather Do-Over Lana posted to Instagram (the one where she films herself walking down literal sea-cliff stairs), she can be heard saying in the background how the scenery almost doesn’t look like California, but rather Hawaii. The instrumentals to Patent Leather Do-Over are also quite hazy and surfy with their dreamy guitars, which may be an indication of the sound we will hear on COTCC.
 
6. It could be that FILY on NFR, being the last track recorded, was a jumping off point for more surfy songs, as we know Lana’s earliest versions of songs for a new record tend to be in a similar vein to the previous record, sonically.

Ok I’m going to rant so here are my 2 unpopular opinions I’m ready to fight
1. What’s with y’all and Live or Die? That song is a mess and it’s just a basic poppy song and doesn’t even come close to any other released Lana song
2. Stop the hey blue baby and stupid for feeling so happy hype - they were cute but NOT record worthy we don’t need Lana turned Kasey Musgraves playing country like it’s avant guard we want trippy surfy noir Lana I said what I said and I stand by what I said

hmm looking at those instagram posts, i have a theory on the album, i think its aesthetic will be like classic 50s/60s romance glamorous cinema vibes, representing like the rich and wealthy country club going people, but that being a bubble with impending doom headed for it, aka the chemtrails. chemtrails symbolizing reality, the changes in modern society making it impossible for the classic 50s/60s romance glamorous life style to be obtainable in todays world

I've been thinking a lot about what we should expect from COCC lately (obviously) and with her recent controversial post I feel like she's going to go in a completely different direction from her past two albums. 
 
I know she said the album will be similar to NFR but that was one year ago and, even though NFR is my favorite album, I think it's pretty obvious she needs more than the acclaim from the critics she's been receiving lately. To me, it's almost like she's starting to regret her choices of being politically correct in LFL and of playing safe lyrically in NFR and now she's had enough.
 
Remember in the Venice Bitch interview when she revealed the title of her new record was Norman Fucking Rockwell how she said she was feeling more playful creatively and taking things less seriously since she had started working with Jack? I feel like, two years later, she's coming full circle and starting to make art without compromises like she used to up until Honeymoon. 
 
And besides her boost of confidence, her and Jack seem to work really quickly together. The fact that she's giving us a whole new record and a spoken word album in a year is astounding.
 
Anyways that's all 

honestly, these days, it's dangerous to really be open and tender, especially without any ego protections. no pretenses 
and at the end of the day, mounds or trenches, don't we all just want a quiet moment to ourselves w the people, environment we want with us at home (wherever/whoever that might be?)

when shit's going on, all around you in life, busy busy busy. this record's a great refuge. and it doesn't go all Big Bang on you, but it's the soft little moments of wonder and realizations that make it beautiful. the production really aids the storytelling. soft drones, guitars. psychedelia, it's great to really unwind. and she mentioned at the start how the album's more like islands of refuge to collect and protect u from future events, so it's more introspective in tone. for some, people go about running from themselves their whole lives, regardless of intelligence n awareness. 

jeez if we were talking more danger, what's more dangerous than not being contented and grateful for ur life at someone's winter? I genuinely wonder if anyone'd be saying the same if we got info from the academy and what the critics were saying etc. 

regardless, this record was necessary, and really, without it, I think Lana would've just burnt herself out further, and we'd get somethings less than truthful. 

norman fucking rockwell, breaking down the ego
MAC, a song about being the bigger person 
venice: overcoming ones' self and envisioning ur future 
filly: feelings. admitting feelings for someone? that's FUCKING hard enough as it is. w life experience? still pretty difficult. if not moree.
DT: this one. it's like a reversion of herself for protection's sake imo
Love song: it is plain. but its stripped enough to capture the feeling of nostalgic love. once in a lifetime? surrendering. the taste the touch, the way we love. it all comes down to make the sound of our love song. quite literal, gets metaphoric, but also truer than true.
literally even says, "is it safe, to just be who we are?"
Cinnamon: touches on abuse. but also, growth from it. 
HTD: another song about disappearing parallel'd w being selfless. 
California: fuck its dangerous to be so fucking desperate, but she did it anyway. 
TNBAR: love relapse imo. 
TG: the realization and accepting that nothing's ever gonna be the same. 
Bartender: contemplation of her peers where she questions if what she really wants is still what she even wants. 
HiaB: cool down. 
hope: alright, she's processed. she's gonna keep going. 

definitely less outward than her past work, but solid enough, and even piercing norms/ shifting focus from the world outside, to the one already inside yourself. 

did she guise it with self refs, and caricatures of herself? I call that stripping and being made new. do u know how difficult it is to just be conventional, when ur not? like fuck. especially w all the bravado and chest pumping and the emotions wheeled from those motives. it's actually quite a strength to be soft and flexible, that while keeping true to yourself. triiggoo. this album's far from safe. maybe it's just of what we're used to in this day and age, but damn. the contrast of what it stands for already does so much. it's literally a counterpoint to what society wants of you. 

the point was to be subdued, introspective. do u know how annoying it is to have external forces, let alone chaos in ur mind from getting u to that point of self, un-manipulated, free state? overproduction would've diluted the emotion, her prime empathic conduit. regardless, it works bc simplicity is what it is. I feel like this record was her trying to have a conversation with shifting it back to how what some call boring, is actually peaceful. and we'd be so lucky to experience that honest solace. like, when ur really tired. ur just. tired.
even the most troubled souls can appreciate a sense of wholesomeness. some of the stuff on here's the closest she's gotten too so. 

really don't wanna reply but if anyone's gonna quote me, don't just pick. 

on topic, I feel it's a bit too soon for me to be guessing stuff, so i'm just gonna say I've been looking forward to what she's gonna follow hope up w next. 

terrence loves you, get free, music to watch boys to, old money

god damn man child, you fucked me so good i almost said i love you
 
is iconic 
 
and you should be banned if you think otherwise xo 

NFR is her safest album and that's why I think the critics liked it so much. For me this album is the equivalent of Lana saying "hey look I'm a good girl!" giving the critics everything they wanted. Of course the album has its moments (I don't think NFR and Hope are 100% safe) but for the most part the album feels too calculated. That being said, NFR is an amazing album and Lana and Jack did a really good work and it deserves all the praise it got, but I hope she goes a different route with COCC.

NFR was safe - but that doesn't mean it wasn't personal, introspective, chill, or good. It's all of those things. I love it for what it's worth, but I do want her to switch it up, she never releases two things which have super similar soundscapes, which is good.

People tend to forget that safe doesn’t necessarily mean bad

I think "safe" is a fair critique but it isn't really a complete characterization. I think it comes more from her getting more into her poetry and really being introspective writing the lyrics rather than her trying to create a different version of herself through the record like on BTD and UV. To me LFL is way more safe, pandering to what she thought other people wanted to hear.  

NFR is her best album out there.
 
It has that 'Oh no I'm done. I've no one left on my side. I am so alone and I'll always be alone' feel...the desperation..she has given up. It's so fucking sad.
 
UV on the other hand has the dramatic sad bitch angry mode feel.
 
UV is her 2nd best album.

She definitely played it safe on NFR

I agree that hope isn't safe, it's the song that lyrically most reminds me of darker past songs. But I honestly can't think of a single risky line in any of the other songs (and I also don't get why so many people say they're political?). I agree that there was some darkness but compared to her past albums it definitely felt very safe to me, and I get that. After years of criticism it was probably nice to be praised by critics. But from what she said in her "question for the culture" posts I honestly have a lot of hope that COCC will be quite different and even though Jack is the producer again, she has tried out a new style for every album. I'd also love some experimental VB stuff, but it could really go anywhere, I'm sure she'll surprise us!

I am surprised that by 2021, Jack and her will have put out four projects together, which is astounding.  
I agree with most of what you said, maybe not as much about her lyrics being safe on NFR (three titles had fuck or bitch in them. I agree that she doesn’t sound angry on NFR and is fresh out of fucks forever). I read in what she said about the culture that she feels her voice doesn’t have its place. I think she may receive backlash as being « not a feminist », if she sings about being incomplete after a heartbreak. I expect to see her vulnerability also, like on Hope, Heroin and Patent Leather, to see that she is a fragile woman, battling with sadness / depression from time to time. I’ m not so sure there’ll be « big fuck you » moments like there were on UV, though I’d be fine with those too.

I've been thinking a lot about what we should expect from COCC lately (obviously) and with her recent controversial post I feel like she's going to go in a completely different direction from her past two albums. 
 
I know she said the album will be similar to NFR but that was one year ago and, even though NFR is my favorite album, I think it's pretty obvious she needs more than the acclaim from the critics she's been receiving lately. To me, it's almost like she's starting to regret her choices of being politically correct in LFL and of playing safe lyrically in NFR and now she's had enough.
 
Remember in the Venice Bitch interview when she revealed the title of her new record was Norman Fucking Rockwell how she said she was feeling more playful creatively and taking things less seriously since she had started working with Jack? I feel like, two years later, she's coming full circle and starting to make art without compromises like she used to up until Honeymoon. 
 
And besides her boost of confidence, her and Jack seem to work really quickly together. The fact that she's giving us a whole new record and a spoken word album in a year is astounding.
 
Anyways that's all 

I've been thinking a lot about what we should expect from COCC lately (obviously) and with her recent controversial post I feel like she's going to go in a completely different direction from her past two albums. 
 
I know she said the album will be similar to NFR but that was one year ago and, even though NFR is my favorite album, I think it's pretty obvious she needs more than the acclaim from the critics she's been receiving lately. To me, it's almost like she's starting to regret her choices of being politically correct in LFL and of playing safe lyrically in NFR and now she's had enough.
 
Remember in the Venice Bitch interview when she revealed the title of her new record was Norman Fucking Rockwell how she said she was feeling more playful creatively and taking things less seriously since she had started working with Jack? I feel like, two years later, she's coming full circle and starting to make art without compromises like she used to up until Honeymoon. 
 
And besides her boost of confidence, her and Jack seem to work really quickly together. The fact that she's giving us a whole new record and a spoken word album in a year is astounding.
 
Anyways that's all 

I've been thinking a lot about what we should expect from COCC lately (obviously) and with her recent controversial post I feel like she's going to go in a completely different direction from her past two albums. 
 
I know she said the album will be similar to NFR but that was one year ago and, even though NFR is my favorite album, I think it's pretty obvious she needs more than the acclaim from the critics she's been receiving lately. To me, it's almost like she's starting to regret her choices of being politically correct in LFL and of playing safe lyrically in NFR and now she's had enough.
 
Remember in the Venice Bitch interview when she revealed the title of her new record was Norman Fucking Rockwell how she said she was feeling more playful creatively and taking things less seriously since she had started working with Jack? I feel like, two years later, she's coming full circle and starting to make art without compromises like she used to up until Honeymoon. 
 
And besides her boost of confidence, her and Jack seem to work really quickly together. The fact that she's giving us a whole new record and a spoken word album in a year is astounding.
 
Anyways that's all 

I've been thinking a lot about what we should expect from COCC lately (obviously) and with her recent controversial post I feel like she's going to go in a completely different direction from her past two albums. 
 
I know she said the album will be similar to NFR but that was one year ago and, even though NFR is my favorite album, I think it's pretty obvious she needs more than the acclaim from the critics she's been receiving lately. To me, it's almost like she's starting to regret her choices of being politically correct in LFL and of playing safe lyrically in NFR and now she's had enough.
 
Remember in the Venice Bitch interview when she revealed the title of her new record was Norman Fucking Rockwell how she said she was feeling more playful creatively and taking things less seriously since she had started working with Jack? I feel like, two years later, she's coming full circle and starting to make art without compromises like she used to up until Honeymoon. 
 
And besides her boost of confidence, her and Jack seem to work really quickly together. The fact that she's giving us a whole new record and a spoken word album in a year is astounding.
 
Anyways that's all 

I've been thinking a lot about what we should expect from COCC lately (obviously) and with her recent controversial post I feel like she's going to go in a completely different direction from her past two albums. 
 
I know she said the album will be similar to NFR but that was one year ago and, even though NFR is my favorite album, I think it's pretty obvious she needs more than the acclaim from the critics she's been receiving lately. To me, it's almost like she's starting to regret her choices of being politically correct in LFL and of playing safe lyrically in NFR and now she's had enough.
 
Remember in the Venice Bitch interview when she revealed the title of her new record was Norman Fucking Rockwell how she said she was feeling more playful creatively and taking things less seriously since she had started working with Jack? I feel like, two years later, she's coming full circle and starting to make art without compromises like she used to up until Honeymoon. 
 
And besides her boost of confidence, her and Jack seem to work really quickly together. The fact that she's giving us a whole new record and a spoken word album in a year is astounding.
 
Anyways that's all 

I've been thinking a lot about what we should expect from COCC lately (obviously) and with her recent controversial post I feel like she's going to go in a completely different direction from her past two albums. 
 
I know she said the album will be similar to NFR but that was one year ago and, even though NFR is my favorite album, I think it's pretty obvious she needs more than the acclaim from the critics she's been receiving lately. To me, it's almost like she's starting to regret her choices of being politically correct in LFL and of playing safe lyrically in NFR and now she's had enough.
 
Remember in the Venice Bitch interview when she revealed the title of her new record was Norman Fucking Rockwell how she said she was feeling more playful creatively and taking things less seriously since she had started working with Jack? I feel like, two years later, she's coming full circle and starting to make art without compromises like she used to up until Honeymoon. 
 
And besides her boost of confidence, her and Jack seem to work really quickly together. The fact that she's giving us a whole new record and a spoken word album in a year is astounding.
 
Anyways that's all