PatentLeatherDoOver

I remember hearing it for the first time and thinking it sounded just like something she would write anywhere from her Lizzy era up to BTD. It’s almost like the Lizzy/BTD version of Love song—at least, those were the vibes I got lol

I would love that, but I feel like the most we’ll see is an Instagram post or a tweet lol. I would love for her to post a little montage of the era or something similar

Random but I have such a love-hate relationship with the “Toyota-Land rover” rhyme from the recent snippet It almost reminds me of the line in VB that goes, “Ice cream/Ice queen/I dream in jeans and leather.” It’s such an oversaturated caricature of Americana and Lana’s artistry in general, but it’s one of those lines that I won’t be able to get out of my head for a while lol

Maybe this has been discussed before, but I always assumed Heroin, Dark Paradise, and Yayo were about the same person, Rob Dubuss. She stated publicly that Yayo was about a man named Rob, and him dying around New Years (according to an old tweet of hers) would align with Heroin’s “bad beginning to my new year.” I wonder if that’s also why Dark Paradise’s demo lyrics didn’t originally include lines about a dead lover.

“Sylvia…”

I can definitely see these comparisons too! They all bear some semblance to one another, and I honestly went back and forth depending on what basis I was comparing them from—especially since the triple singles are all decently congruent instrumentally. Overall, I just think it’s neat how her past records (particularly LFL given its range of subgenres) unintentionally gave some insight into which soundscapes she would return to. Convos like these where I remember how versatile Lana is compared to many of her compeers

Maybe this is just me, but the three new singles from BB remind me so much of the last 3 tracks of LFL (Heroin, Change, Get Free). They all seem to share aspects of one another, but here are the main things I noticed: To me, WW has the darker, storytelling vibe of Heroin that slowly builds into almost shouting vocals—both are super confessional as well. As another user pointed out, Text Book’s chorus leans into a similar cadence as Get Free’s, and both songs taper off into mellow notes of ambient noise. Blue Banisters and Change have (mostly) minimal instrumentation and are lead by cushioned piano notes, but there is some filler “ambience” from the organs and mellotrons, respectively. If this makes no sense it’s because I had 4 weed edibles & it took me like 20 minutes to write thiswish i was kidding

so dry that I almost wish darla was here to stir the pot

insiders..i know you owe us nothing, but..if you’re out there..spare a scrap of info? Something like a lyric acronym to guess on (like with White Dress for the COCC thread) would really give this thread some much-needed momentum we could probably stretch the acronym for days on this thread

Terrence Loves You vs Black Beauty

your mind is so powerful omg. Even without considering the reference to the song in BB, the lyrics are so confessional and almost tangibly descriptive. I would love to see Lana serve Wildflower Wildfire vocals on a song like this!!

Ahh, this is tough. Is this strictly her vocals? Or other skills as a musician (such as songwriting or melody-making)? Vocally, Off To The Races showcases her range so well; the track also shows how she can shift her voice from being very low and gravely to an almost childlike, high-pitched trill. OTTR can also be really challenging in terms of breath control as well.

Random, but if Lana were to put a cover on the album (and not necessarily if you want one in general), which song would you choose to fit BB?

100% agree. Also, I’ve never thought of the Text book / Get Free comparison, but it’s so true and yeah, I remember wishing we could’ve heard the full How to disappear demo; it really seemed to fit the mood of the song

a gay can dream I keep hoping she chose Mike Dean because of his work with other artists (and just his background in synth-heavy music in general), but it is hard to imagine her moving drastically from her current sound. Then again, she’s also noticeably leaned into different genres several times (like aspects of trip hop for BTD desert rock elements in UV, folk in COCC, etc), so hopefully we’ll—at some point in the near-ish future—see some variation in terms of genre and production team delulu

Imagining Lana trying a style similar to this (particularly around the 1:54 mark) would be a dream for me

This! So far, we know that Mike Dean is claiming (potentially bluffing) that his involvement in BB—outside of WW—is limited, and this makes sense considering Gabe Simon’s Instagram post about his journey on working with Lana on BB. So…maybe LDR9 is the synth-heavy (potentially hip-hop-influenced) record everyone anticipated when Mike Dean announced his future involvement with Lana. Then again, with Lana’s speculated tracklist scrapping, it’s possible that her “future work” with Mike Dean past BB will make an appearance on the record. This could explain the new delay as well, but who knows. The uncertainty is killing me lmao

Joni Mitchell’s jazz rendition of her song A Case of You. It‘s like if Honeymoon and the triple singles from BB had a child; you can certainly hear Joni’s influence on Lana here:

Maybe this isn’t a shared sentiment among all fans, but Lana singing, “I ended up awkward but sweet,” is one of the most heartbreaking lines she’s written (for me, at least). I’ve been trying to think of why it shocked me, and I think it’s something to do with this: There’s nothing particularly nuanced or lyrically fascinating about that specific line, but I think it marks a huge shift in how Lana is choosing to reveal herself. At least in that particular excerpt of the song, there’s no grandiose or cinematic presentation when she sings that lyric—just a frank, jarring confession of vulnerability. The recent singles almost feel like really gorgeous diary entries, and I wouldn’t be surprised if she delves even deeper in order to set her story straight

Listening to Blue Banisters and realizing how depressing the track is in retrospect given her alleged split with Clay. I always figured the “…man that’s still right here” was him. I legitimately feel so bad she’s in that situation

I was just thinking this, and it makes sense considering how recent the alleged scrapping was. Then again, I’m sure Lana has released music for relationships she’s ended in the past, but I dunno. While we obviously don’t have access to her personal life, I do feel that her relationship with Clay seemed like one of her most serious ones, so I wouldn’t blame her for scrapping songs potentially centered around him.

The thread has been dry, so I think it could be fun if we talked about what we love & potentially don’t love about the singles/snippets so far! If anyone’s interested, I’ll start with WW (and obviously feel free to share your thoughts or disagreements on my takes as well)! For me, at least.. •Wildflower Wildfire: -Praises: Maybe I’m biased, but I think WW is—lyrically, at least—in my Top 10 Lana tracks. For me, it’s one of the most personal, vulnerable, and poetic songs she’s ever released. I’m still amazed at how gorgeously she delivered such a defiant commitment to never turning into those that “raged” against her. Instead of burning, she chooses to live like a wildflower: surviving and thriving for the sole purpose of simply existing. -Criticisms: This is such an excruciatingly minor thought, but I really would have loved if the crackling(?) sound tapered off a little smoother so it didn’t disappear as abruptly. The melody definitely took time to stick with me, but that’s just my very subjective experience with the track. I’m excited to see how everyone else feels!

I really hope we get some clarification on this! I’m 100% supportive of respecting her privacy & letting her art speak for itself, but I’m really interested to see if we get a better idea about the color symbolism & what event precipitated her avoidance of the season Also, I wonder if the weathervane analogy is supposed to suggest her lover “fixing” her sense of being directionless (since indicating direction is typically the function of weathervanes)….or maybe it has no significant meaning. Thoughts??

I think the titles fit almost perfectly, but if I HAD to change them.. BTD: Dark Paradise Paradise: Tropico @Alison by Slowdive (such a good choice!!!) Ultraviolence: Shades of Cool Honeymoon: The Spell of Her Weather OR Swan Song Lust For Life: Out Of The Black: Into The Blue OR Modern Manifesto Norman Fucking Rockwell!: The Next Best American Record COCC: White Hot Forever @Alison by Slowdive (our minds…) Blue Banisters: Wildflower Wildfire

so like….did Lana actually change the title of the record in between the insider info and her announcement..? And do we have any idea what the new title was? If I remember correctly, it wasn’t RCS either, so I’m a little confused lol