tienmej

this is gonna sound silly but rick is like noticeably older than her and funnily enough they stopped working together around the time she put her daddy issues to rest... well, not entirely, but certainly in her music...

I think that is what she seemingly wants to do, since so much of OB is about collaborations and using instrumentals from other artists, so at least she is open to experiments, which is good. Lets hope she finds herself a new collaborator... do we actually have any tea as to why she stopped working with rick nowels btw? Other than her just wanting someone new and fresh to work with... Also tbh the last few songs on OB sound like a pretty strong conceptual direction for a new record, aside from the non existent instrumentals (thanks Jack).

My wet dream is for her to do an album with the classic songs + new songs with Father John Misty, akin to the two they have already done. But idk, I feel like it is in this era specifically that it is hard to predict if she is actually going to change the direction or not. Theoretically, she could do a trap-esque album like the last few songs on OB, the main culprit here is that she herself said during one of the meetings with her fans recently that she has been told that people actually did not like the latter half of OB as much (the fans of course told her that its not true), but if she actually thinks it is true, it might influence her not to go in the trap direction. I dont think she'll stay deep in the COCC, BB lane for any longer, but where she is going to go - I have no idea. I honestly hope for some conceptual side projects, like the classics album or an album done with another collaborator, or a psychedelic album akin to the the last few OB songs (+AW). I wish she made a visual album tbh. Just something that would shake things up and have a strong conceptual aspect to it that she would stick to. One last thing actually... Since her team obv sees that her unreleases are huge on TT and streaming, she might feel encouraged to do a bit of fan service in this sense and drop a record that is fan service-y in nature

I feel crazy for saying this, but to me ocean blvd feels in some ways like she is circling back to her pre 2011 era of acoustic sound... Also, I dont mean this in a bad way, but objectively Blue Bannisters is not a real album... LISTEN... There is pretty much zero conceptual reason for her to dump 7 or so of her unreleased tracks in the context of that album. What I think happened is that Lana for some reason felt the need to drop a new album right after COCC, and at that point in time she had a clear direction in mind, which was to cover her own family relations and to diss some of her family members... - thus she ended up with 4 new songs (Textbook, Wildflower Wildfire, Blue Bannisters, Sweet Carolina) that cover those exact themes and which are the only "true" BB songs, because they were clearly meant for the album in the context of the announced themes. From that point, I speculate that for some reason she either did not have enough material that covers these topics to arrange it into a full LP, or she decided not to continue in that direction for personal reasons. The issue with the latter is that ultimately she did continue writing in this direction for Ocean Blvd, so I honestly think she probably just wasnt sure back during the BB era of writing or just needed more time. Anyway, to make up for this lack of material and time, she decided to drop some random unreleased songs just because she liked them and because she probably was still liking the idea of releasing an album comprised of unreleased songs, which she mentioned back in 2017. Because even the relatively recent songs like Black Bathing Suit and Beautiful (?) were outtakes. And now, in the Ocean Blvd era, the rest of her Blue Bannisters era/style writing was finally completed and thus she dropped Fingertips, which definitely sounds like a BB outtake and other songs about her family. Maybe she had a writing block on the topic of her family, which resolved after she started writing her memoirs or smth. Pure speculation. ANYWAY, the point is that I do not think it is fair to call BB an album, when it is essentially a mixtape. And because 70 percent of BB is random outtakes from 3+ eras, most of which were left musically unchanged, I do not think we should use BB era as any sort of reference for her future musical direction or as part of her evolution, because it isn't. It is actually what sets Ocean Blvd apart, which is that unlike Blue Bannisters, some of her songs from Ocean Blvd, which are thematically identical to the themes of the core BB songs, were actually adapted to suit the record and not just dropped as is.

Why is it that the perfection of Lana, her essence, always seems way more apparent in her collaborative work like soundtracks and, sometimes, features? Her vocals, her adlibs, here give me so much of Season of the Witch and the humming from Is This Happiness, and the backing vocal doubling "so dishonest; And it's fine" at 1:44, the tone of her voice there, it just kills me, because it just sounds like something that I remember falling in love with, it sounds like the purest form of her to me. I think I do prefer the original production in terms of specifically the instrumental, but other than that, an already vocally beautiful song just became that much better. I think it's probably one of the more intricately arranged ones vocally. On a sidenote, I think the vocal arrangement on this one and Season of the Witch is done in a similar style, so I thought it would be interesting if she ended up using that as a direction for her new record... Wouldnt hold my breath for it though.

nah

Ok so Candy Necklace leaked...

she came back for blue bannisters too lol

Also, speaking of youtubers who do album reactions... I really love SherTheTruth, she's a poetess herself and she's a Lana stan. She usually goes into analyzing lyrics in terms of their themes and sometimes the rhythmical structure too... I hate the fact that the album isn't out already. I want the reactions... I want them all...

A lot of these reviewers who would shit on Lana in 2012-2014 actually often were like uhm 40-ish years old males, as far as I can remember. It was also the case for Gaga back in the day. I remember that at one point I decided to go in and check who exactly was behind each negative review and you guessed what demographic that mostly was. Also, we all know Floptony Floptano and his consistent misogynistic hatred towards the "sad", "baroque" and "girl" character/aesthetic archetype (thus not just Lana alone), and he is pretty much the quintessence of all those reviewers and their motivations. TBH, reviewers are absolutely irrelevant now that anyone can just listen to the album as is, for free and or watch a reaction video, if they want to hear an opinion. Most journalists doing music reviews should enjoy their jobs while they still have them. I can't picture a teen or a young adult nowadays casually googling reviews for the album prior to them actually listening to it, certainly not the tiktok generation, unless they are some music nerd or want to confirm their thoughts after the fact.

to those tasteless calling kitsungi one of the worst songs... did you expect it to be some club edm beat driven track or smth

I dont think that either, in fact I find it interesting, that it is on this album specifically that Antonoff decided to use the same instruments as on some of the Folklore songs.

I don't necessarily see why one would react strongly to this comparison, since in my opinion it is in no way derogatory. But as I have said, I think this is the closest Lana and Antonoff have been to his work with Taylor purely in terms of the way it sounds.

I am mostly pointing out the instrumental similarities, which didnt occur before even though Lana has been working with Antonoff for a while now.