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Evergreen

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  2. Posted

    I'm not surprised, Lana reads American news, they are very pro-Israel and don't tell the full story. It's hard to educate yourself on such complex topics when the media paints everything in black and white (quite literally). There's a chance that someone will reach out to her privately and tell her more about the history of Palestine and all the nuances... But before that, I want her to stay silent. 

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  8. Posted

    Great article about Ultraviolence in celebration of the album returning to the 10 in the UK. :party:

    UK Official Charts: Why Lana Del Rey's Ultraviolence feels more relevant than ever

    Lana's masterful second album is a bold and bruised magnum opus that redefined the trajectory of her career. Now does seem a fitting time to pay tribute to Ultraviolence and everything it's done for Lana's career. Namely, that it helped redefine her public image and, for the most part, her sonic identity as an artist, paving a road that ultimately lead to Did you know that there's a tunnel under Ocean Blvd.

    1. Ultraviolence was a necessary pivot away from the well-defined aesthetic of Born To Die

    To put it quite simply, Lana Del Rey's debut album Born To Die is probably the most influential LP in pop music over the last 10 years. One of the best things about Born To Die was that it made Lana Del Rey an instantly recognisable star with very easy to spot references both visually and musically.

    One of the most difficult things to rectify post the album release, however, was that Born To Die made Lana Del Rey an instantly recognisable star with very easy-to-spot references both visually and musically. Lana quickly tapped into the secret of stepping out of Born To Die's shadow...she pivoted away from everything that had made it so great in the first place. While Born To Die is a mostly chamber-pop record, Ultraviolence veers into psychedelic rock and at points even grunge territory. It's a much harder record, both sonically and lyrically. It's a record full of contradictions that rub up against each other and spark as a result; doe-eyed love songs that carry a heavy undercurrent of violence and trauma (Ultraviolence), dedication that turn so easily into obsession and control (Brooklyn Baby, Shades of Cool). 

    2. Born To Die set Lana up as a pop star - Ultraviolence burns that possibility to the ground and salts the earth

    Lana Del Rey never seemed content to act as a stereotypical pop star. Even thought that was never her MO (even her biggest hit in the UK, the Cedric Gervais remix of Summertime Sadness, was created without her permission), it was perhaps easier for critics and fans at the time to call Lana a pop star.

    But that came with its downfalls too, as it was then much easier to try and fit Lana into the pop star mould, and begin to pick her apart when she inevitably failed to fit into these defined boundaries. So much chatter around Born To Die came to Lana's own autonomy in her work. Ultraviolence, both in content and context, is a direct response to those critics. It's a Lana Del Rey album where the construct and persona of Lana Del Rey is slowly stripped away.  It was a change so shocking and so needed, it could have only happened on an artist's second album, when all bets should be off and caution thrown to the wind. 

    3. Everything that made critics sit up and take notice of Lana on Norman F*cking Rockwell! was already present on Ultraviolence

    It's now more or less agreed that Lana is one of the most talented songwriters of her generation. This title, never in doubt by fans, was initially bestowed upon her by the critics and press during the cycle for her breezy and authoritative sixth album Norman F*cking Rockwell! (another UK Number 1), which in many ways acts as a sister record to Ultraviolence. 

    But everything that critics found so enticing about NFR! - its California-centric production, its lyrics that both decried the world and sought for a way to find harmony and peace amidst the chaos - were actually already present in Ultraviolence, but maybe people weren't ready to hear it yet. 

    But that has, really, been the MO of Lana's entire career. She has always been a generation-defining talent, just look at Video Games, or National Anthem. The material has always been there, the material has always been good (she hasn't claimed six UK Number 1 albums for nothing!) but circumstances outside of Lana's control always seemed to hinder her getting the respect she rightfully, truly deserved.

    Read the full article here: https://www.officialcharts.com/chart-news/why-lana-del-reys-ultraviolence-feels-more-relevant-than-ever/

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  14. Posted

    9 hours ago, Crimson and Clover said:

    Mitski’s new album is very Americana imo something like this would be very nice, very twangy 

     

     

    It's good to note that the main composer of the song is Drew Erickson and he did a couple more songs on Mitski's album. If this is the sound direction for LDR10 I want to see what Drew and Lana can do together again, usually their songs are all piano ballads with strings (Arcadia, Sweet etc), but he also did Let The Light In.

    4

  18. Posted

    A few years back, you said that you started editing yourself because your lyrics were too personal. Are you still doing that?

    Only in the past two months! I’ve never had someone make comments on my lyrics before, and then I recently met up with another writer. It’s a little bit of a different process now. For Tunnel, I did not edit myself. 

     

    This is interesting. I wonder with whom she's working right now? 

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  25. Posted

    5 minutes ago, Psychedelic Pussy said:

    It’s so sad that is only claim at any relevance is the fact that he dated Lana a decade ago and he still talks abt her and his only fans are…. Well, they’re just her fans :xgiggle:

    I mean... Look at the streams on his latest album, Riverside with Lana is 4M and the 2nd most streamed song is only 100k. That's a 3,9M difference. :xgiggle:

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