PatentLeatherDoOver

she looks so young in that last photo!! Is that an old picture or?

I still don’t fully understand how she’s able to make tracklist and title changes this close to the release.. I honestly think now would be the perfect time to have a self-titled record given its autobiographical leanings, but I genuinely think that Wildflower Wildfire could really embody the entire record as well

Lana’s meticulous and uncompromising approach to production doesn’t seem to have changed since she began making music, and statements from her engineers and producers confirm this—ranging from Nowels to Antonoff and many others. Stylistically, I may not always love her decisions, but assuming her involvement and effort is minimal in the production process doesn’t seem to be well-supported, in my opinion. Could it happen in the future (or even on BB)? Sure, but most current evidence points to the contrary. That being said, I’m so incredibly excited to see what veins of sound that Blue Banisters will swim into and how Lana will choose to shape them into her own soundscape. Currently, I’m getting major Tori Amos vibes—even Stevie Nicks at times (such as in demos like Planets of the Universe). I have a feeling she won’t disappoint

the thread’s been slow for a bit, so here are some vinyls I think fit the vibe of the record so far!

Some of the tracks are so intimate (particularly WW) that it’s difficult to imagine her lip-syncing them for a super polished video. I figure this will be an unpopular opinion, but if she were to assign a music video to something like WW, I think it would benefit from her early DIY approaches (think Video Games or Carmen). I think this would really allow the lyrics to speak for themselves while also granting her the freedom to insert little clips from different media she feels would enhance her narrative. Also, it would be a full-circle moment in returning to her roots and reclaiming her past, but that’s just me lol

While there’s a good chance the car selfie may end up as the album cover, I can’t help but wonder if she’ll return to something a bit more polished. Personally, I think it would be neat if she were sitting on a bed of grass with her eyes shut and the bed of grass closely surrounded by a ring of fire. I think it would tie in with her vows to never turn into something that catches flame while also referencing her ongoing concerns with the fires in California (specifically in Santa Clarita). She’s been “under fire” from the media for the past decade, and I think seeing her sitting peaceful, unbothered by her surroundings could be a neat concept

…going to guess and say nothing BB-related has shown up on Shazam or her source code recently? scrounging for a crumb of news

Gotcha! I honestly have no clue how to tell when tweets were liked tbh—I just use previous likes as a reference lol. Hopefully it’s an indication *something* will come in the next few weeks, but I’m not really familiar with this specific insider to know when that would be lol

I just checked their Twitter likes, and it’s real! I’m not sure when they liked the original tweet, but it was sometime in the last 11 days; I’m super excited now!

Honestly, this would make a lot of sense. Both CB and WW reference her relationship with her mother, and there are some lyrical parallels as well: In Cherry Blossom, she sings, “It’s a cruel, cruel world.” In Wildflower Wildfire, she sings, “I wouldn’t know how cruel the world was.” The message between the two seems vastly different, but maybe that would show the difference between the reality of her relationship versus the one she wanted. Who knows, though

Are there any unreleased tracks that anyone feels would fit the vibe of what we’ve heard from BB so far? Personally, I think French Restaurant would mirror some aspects of the three singles—sonically, at least. The vocals are very forward and placed against a piano, and there are moments where her voice is manipulated to create a softer atmospheric effect. It’s not a perfect match, but I think it’s decently similar, maybe lol

Mike Dean’s most recent Instagram story is so similar to what I was envisioning when Dealer was speculated to appear on COCC. I really hope there are some rock-heavy moments like this on Blue Banisters, but I’m not getting my hopes up just yet..lol

I had this thought as well! Wildflower Wildfire is hands-down one of my favorite tracks she’s written, but there were times I had a difficult time fully appreciating it because the verses, pre-choruses, etc. almost felt hard to distinguish between? That’s probably just my subjective experience with the song, and those sentiments have largely changed for me after listening multiple times, but yeah! I totally get where you’re coming from! It definitely has that stream-of-consciousness vibe both lyrically and melodically

While I’m a partial to Lana’s early, cinematic soundscape, the triple single release really demonstrated how effective sparingly-used instrumentation can be when highlighting certain lyrics or vocal stylings. In WW, the synths that come in when she sings, “I’ve been running on star-drop IVs,” give me chills every single time. The same goes for Text Book when “Ol’ Man River keeps rolling,” ushers in the almost choir-like vocals and ambient noise. I think I (and others, probably) have been so accustomed to a grandiose styling from Lana that her more stripped tracks feel “underproduced” when that’s often not the case. Again, that doesn’t necessarily apply to all of her stripped tracks, but I could see it associated with quite a few. Just a random thought & appreciation post for her more recent works ig lol

Personally, I think this lyric has a good chance to be utilized in a sarcastic way since this album is related to (in her words) seeking revenge—maybe something like, “Isn’t my life rock candy sweet?” Then again, maybe it’s a sincere sentiment given her recent engagement. We’ll see!!

Here is the one I quoted from!

While this may vary by producer, I completely agree, and past interviews with her engineers and producers seem to confirm this. Here’s a quote about Lana in the production process that I love: “There is this thing about Lana that if we know she’ll be showing up in half an hour, we have an instinct about what she’s going to like and what not, and so it’s like: ‘Hurry up and make it sound good, so when she walks in the door she’ll be smiling.’ And if she’s not smiling we know how to pull it together really quickly. But she’s in the room for much of the process, and incredibly meticulous about vocal levels, for example. A lot of the vocal rides are dictated by her. She hears 0.2dB differences in volume, and when we got the first mastered songs back, she was really dismayed by how they sounded, and it turned out to be the dithering down from 24- to 16-bit that was bothering her!”

After a few days of listening, I’ve realized how much more I appreciate the singles when I’m able to listen with headphones and without any distractions, taking in every word she’s saying. Because of that, I really think this record will be mostly driven by its lyrics. There’s so much emphasis on her voice, and this seems to complement the autobiographical approach Lana’s taking. This also helps me appreciate the subtleties in the composition so much more. Using WW as an example, the melodies adapt to Lana’s lyrics really well. In the verses, there’s a lot of harshness when she talks about her mother, and the melody resolves to something softer when she mentions ending up awkward but sweet. The buildup in this song is really gorgeous as well, but it may be harder to pinpoint without headphones and close listening. I could seriously see this being her most critically acclaimed album.

“Yet still inside I felt alone/For reasons unknown to me,” has really taken on a heavier meaning since WW has been released

I agree regardless of whether this is intentional on Lana’s end or not. Many of the thoughts Lana hopes to challenge with this record (such as domestic abuse) could largely be attributed to an already unhealthy framework for relationships. She seems to confront other accusations of glorifying aspects of mental illness and drug use as well. She happens to mention both of these in WW when she speaks of her hospitalization and “star drip IVs” after revealing her relationship with her mother. Honestly, I’m incredibly surprised she’s been this open with the general public about it; it’s sad that she even feels obligated to share something that vulnerable in order to justify her artistic decisions, but I’m proud of her regardless

I seriously really enjoyed reading this!! Honestly, I hadn’t considered that the production was part of her almost gifting the record to her fans, but it totally makes sense if that’s the case. I think that really ties in some of the more people-oriented themes and lyrics, and Love is a perfect example of this. That being said, I wouldn’t be surprised if she returned to something with a noticeable influence of trip-hop or hip-hop. She seems to reflect the music and art she actively consumes when crafting a record, and she definitely has shown an affinity for the genres even recently. My only hesitation with my statement is that it’s incredibly difficult to imagine her current works fitting into something like hip-hop, but then again, she’s shown that she’s incredibly versatile, but it is a bit odd to think as of right now. We’ll see!

Wait, do you think this has anything to do with Lana stating that she was recently at a facility by the ocean in her poem Patent Leather Do-Over? If so, it almost appears that she’s connecting the “rage” of her mother when she was younger to her hospitalization at the age of 34, according to the poem. If she’s not referencing the facility, it’s rather disturbing to think of what else her mother’s “rage” would cause her to be hospitalized. If I remember correctly, Lana (understandably) responded harshly to what she perceived to be Ann Power’s public suggestion that Lana underwent abuse when she was younger without Lana actually denying it happened. I dunno. Either way, it’s incredibly sad, but I’m proud of Lana for being this vulnerable and candid

That was my first thought when I heard the lyric, and I think it’s pretty reasonable to assume that’s what it’s referring to. Similarly, in Fuck it I love you, she appeared to reference substance use when she sang, “I used to shoot up my veins in neon.” Both lyrics have this very image-evoking way of describing her addictions, but that’s just my perception of the lines

Maybe this is a reach, but Lana posting the homemade video for Pawn Shop Blues has me wondering if it will make an appearance on Blue Banisters. Skepticism surrounding Lana’s—even if brief—experiences with poverty (“...living on bread and oranges”) might continue the autobiographical nature of Blue Banisters. Given the recent information about her parental relationships, it might better explain why she was temporarily in this situation. Also, I would argue that it would fit pretty well sonically, complementing the singer-songwriter inclinations we’ve seen so far—not to mention it’s pretty strong lyricism, in my opinion

I’m a little late joining in on the discussion of her new singles, but.. I’m almost entirely sure this will be her most intimate record to date; lyrically, she outdid herself. I could be wrong, but her vocals seem so much stronger than they were in NFR and COCC—very forward and jazzy at times, reminding me a bit of her singing from Born To Die up until Honeymoon. Melodically, BB has the most replay value for me, but WW arguably has the best lyrics. Text Book is so vulnerable, and she manages to keep it interesting with a really strong narrative. I found it sad but very effective in the way she tied the disappointment with her father’s inaction in WW to the desire for a father-like lover that would “have [her] back” in TB. While I was anticipating a wild change in her musical genre, I think she’s making such meaningful and expertly crafted art and am excited to see what’s next!