PatentLeatherDoOver

If I had to choose a record for Lana to provide commentary on (similar to the brief one she did for UV), I think I would choose Blue Banisters or Honeymoon. Arguably more than any of her past records, Blue Banisters is just chock-full of obscure references, conversations, and symbolism. I’d even love to hear more background on the production choices of songs like WFWF and BBS; the tracklist selection process would be really neat as well given how narrative-driven it is. If she does another livestream, hopefully one of the gays will mention something from this to her

I really wouldn’t want to remove any, but if I HAD TO remove 1 from each.. •BTD: Lolita •Paradise: Bel Air or Blue Velvet, I guess •Ultraviolence: G&R (justice for The Other Woman) •Honeymoon: DLMBM •Lust for Life: LFL or BPBP (I’m obsessed with the demos for both, though) •NFR!: TNBAR •COCC: Breaking Up Slowly Blue Banisters: Beautiful (not counting the interlude lol)

points were made!

I know I’ll get dragged for this but

If this post is remotely related to Lana, I’m VERY intrigued to see how Lana will segue Blue Banisters into a Mike Dean x Emile Haynie collab! I think Wildflower Wildfire would have likely sounded different had it not been on BB, but can you imagine Lana shifting this era into a cross between these two songs? ICONIC

I love this interpretation so much!! Coming through with the analysis as always!

I haven’t watched Fantano’s BB assessment yet to agree or disagree, but this review seems to be a very controversial one among his viewers—there are nearly 2K dislikes & only 2.6K likes. Oof

Ironically, I don’t cry often from traditionally sad-sounding songs or cry in general, but.. Get Free It’s the perfect overview of harmful relationships and the bittersweet freedom from losing them. Chef’s kiss

Lana’s dad really put his whole Robussy into Sweet Carolina’s piano

wait I love Holly-stay-weird so much lol

I would love to hear Mike Dean rework Oh Say Can You See’s production into something a bit more dimensional—imagining it swimming with synths and feeling spacey, almost. A gay can dream

One thing this era taught me is to avoid leaks when possible. Similar to Honeymoon, I’d argue this record is best when listened to from start to finish as a cohesive work. I think my initial indifference toward the album would have been avoided had I not just skimmed through the “unheard” songs when they leaked. I definitely have a greater appreciation for it now, and I’m almost considering avoiding future singles until the entirety of LDR9 is out

I wonder if Lana knows how much praise Dealer is getting on TikTok with it going viral…maybe she’ll notice & it will inspire an album of tracks with a similar vibe Her Mike-Dean-produced synth screamer magnum opus coming

….is it too early?

I’m wondering if this record will be LDR9 or LDR10 with the covers album coming soon (allegedly)…hm

Expanding on what other users have mentioned, I think it’s nice that Lana seems to be settling into a soundscape that she’s been hinting at for years now. I think that Lana’s history of drastically changing her sounds across records (trip-hop, jazzy dream pop, desert rock, folk) has made the last 3 records feel like there was no evolution of sound, but I’d argue that’s not really the case. For example, I can’t imagine something like FIILY on Blue Banisters without it sounding completely out of place. Conversely, I can’t picture Text book on NFR! at all. Regardless, I think it’s pretty normal—even with the most renowned artists—to settle into a specific genre while still maintaining a sense of novelty. Does that mean Lana will never branch out from her singer-songwriter, folky tendencies? Of course not—it’s worth mentioning that it wasn’t remotely long ago that she was toying with tracks like Doin’ Time. Would I be open to seeing a huge sonic shift? Totally, but I don’t think there’s anything remotely wrong, stagnant, or lazy with where she’s at production-wise after hearing Blue Banisters in full. I think it’s similar enough to show how she wants to present herself as an artist but different enough to hold interest. Idk just my subjective thoughts on this

Woah, that’s actually really cool! Was it the lyric & credit photo? And yeah, her post was written so chaotically lol

I’m not sure if anyone mentioned this, but Alana Champion gave some background on Sweet Carolina via Instagram (though it is a bit vague). While she never gave context, she said that her (Alana) and Chuck were having a convo where lilac iPhones and cryptocurrency came up, so Rob & Lana took their conversation & made it into a song, essentially. The convo also included them discussing the “baby blues.” No word on Kevin, though lol

I hear it!! Her voice definitely has a slight twang to it that isn’t in the original!

Bear with me, but I had a neat observation: after listening to BB, I think it’s interesting how frequently Lana ends a record by explicitly emphasizing femininity (often directly with the titles) and her interpretation of it. This Is What Makes Us Girls closes her debut record with supercut-like imagery of the friendship dynamics with women in her early years. The standard version of Ultraviolence does something similar in closing with a cover of The Other Woman, offering a less unified approach to TIWMUG’s love-centric expression. Lust For Life ends with Get Free, a track that defies the very love reliance she punctuated BTD and UV with, thereby adhering to this commitment for the women she felt were impacted by it: Amy Winehouse and Whitney Houston. In its entirety, it’s almost an ode to women and their liberation from toxicity. In NFR, hope is a dangerous thing for a woman like me to have…BIHI—both in the title and its content—directly confronts her position as a woman that has been submerged in a world that often felt hopeless. COCC (an album designed to clarify and embrace her femininity) completes her narrative with a cover alongside two women she reveres in their artistry, even allowing one of them to have the last note on the record. Her recent release seems to continue this pattern with the heartwarming, irreverent ballad Sweet Carolina. The track is a reassurance to her sister, a promise of constancy as she emerges into the commitment of motherhood. Whether intentional or not, I really found this trend interesting. You could make similar arguments for Paradise and Honeymoon touching on this as well, but I felt the other records encompassed femininity a bit more directly. Let me know what you think!

I will never be able to unhear that it made me laugh though lol

Thank you so much for taking the time to write the key parts of the live—a blessing for those not in the honeymoon account lol

After reading about this live, I wonder how long until we plunge into the AS&C thread

I know people feel like it’s dragging on, but I’m really enjoying reading the transcripts—she seems like she’s having a fun time, and it’s rare we get this much engagement!