PatentLeatherDoOver

1940s folk witch vibes!! this era contains multitudes

I guess loving someone in this context would be avoiding doing something terrible enough to apologize for, maybe?
 
This might make sense given the “Never forgive/Always forget” photo she recently shared

I guess loving someone in this context would be avoiding doing something terrible enough to apologize for, maybe?
 
This might make sense given the “Never forgive/Always forget” photo she recently shared

1940s folk witch vibes!! this era contains multitudes

I guess loving someone in this context would be avoiding doing something terrible enough to apologize for, maybe?
 
This might make sense given the “Never forgive/Always forget” photo she recently shared

At some point in the future, I really hope Lana dives headfirst into a really specific and experimental genre & maintains it throughout the entirety of the record (even if it’s not my initial personal preference). 
 
I think this is why Honeymoon and Ultraviolence are lauded for both their originality and cohesion but produce polarizing opinions among her listeners and critics. These genre-heavy sounds are often growers but showcase her ability to adopt & complement a soundscape with her own artistry. 
 
UV, HM, and NFR are practically equal in my eyes, but personal (and very subjective) wish for her last record was that it would have a more..readily recognizable(?) sound. Idk if this makes sense but maybe someone gets it 

I used to not even listen to it because the lyrics never really grabbed me (from
the first snippet she teased to the full apple performed) and I never paid enough attention to the instrumental because I was so focused on the not liking the lyrics aspect 
But now, since I realized I like the instrumental, I find myself relating to the lyrics more 
 
I agree though! The instrumental we got is ‘trippy’ and I love the key change instrumental break! I love piano so much (I’ve played for almost 15 years now!) but that instrumental break wouldn’t have been a quarter as interesting without all the interesting instrumentals mixing together!

This is a hot take I don’t hear super often!!
 
While I personally prefer the piano version for that specific track because it seemed to pair well with the wistful message, I still think the studio instrumental is really interesting. 
 
The mellotron in the studio version has this very hazy, melting(?) quality that I think would sounds really fucking cool on a “trippy” track, and I wouldn’t mind her exploring this more experimental sound more!

I guess loving someone in this context would be avoiding doing something terrible enough to apologize for, maybe?
 
This might make sense given the “Never forgive/Always forget” photo she recently shared

1940s folk witch vibes!! this era contains multitudes

1940s folk witch vibes!! this era contains multitudes

Hi all, I’m back 
 
I’ve always shared my unpopular opinion about not liking NFR, but I think I just out unpopular opinioned myself 
 
I think How To Disappear is one of the best album tracks, instrumentally  
 
I know you’re all upset that it wasn’t the piano ballad she teased and premiered but I think the final production is 1000X’s better. I’ve been re-listening to NFR in anticipation for Lana and Jack’s newest baby and HTD is the one that’s been sticking out the most to me. The strings, bells, guitar, random beats. I love it 
 

I know a lot of people say NFR is her most un-Lana album but honestly the most un-Lana album for me really has to be LFL (and honestly I still love most of it!) I feel like songs like Cherry, WM, and 13 Beaches touch Lana-isms in a more superficial way. Maybe it's the crazy amount of reverb in her voice? The actual lyrics/sounds themselves? Songs like IMF, Coachella, Summer Bummer (even regarding Ridin'), and even Change feel really different from her previous discography for me. While I do feel like NFR does expand on some aspects from LFL, mainly the singer/songwriter aspect of Change/TNC, and is different from her other established works, it honestly does still feel more Lana than LFL for me (but tbh, I feel like most works post-UV depart from what BtD/UV set for her tbh). Even then, I GREATLY appreciate that songs like Get Free and Heroin weren't afraid to break free from this mold and create their own legacies and pathways in her discography. 

At some point in the future, I really hope Lana dives headfirst into a really specific and experimental genre & maintains it throughout the entirety of the record (even if it’s not my initial personal preference). 
 
I think this is why Honeymoon and Ultraviolence are lauded for both their originality and cohesion but produce polarizing opinions among her listeners and critics. These genre-heavy sounds are often growers but showcase her ability to adopt & complement a soundscape with her own artistry. 
 
UV, HM, and NFR are practically equal in my eyes, but personal (and very subjective) wish for her last record was that it would have a more..readily recognizable(?) sound. Idk if this makes sense but maybe someone gets it 

totally agree... obv there's a natural inclination to experiment and find your sound early on which is why a lot of unreleased stuff is so fun to hear especially. It's nice and natural to settle into something that works for you but I'd love to hear something more out there again !

At some point in the future, I really hope Lana dives headfirst into a really specific and experimental genre & maintains it throughout the entirety of the record (even if it’s not my initial personal preference). 
 
I think this is why Honeymoon and Ultraviolence are lauded for both their originality and cohesion but produce polarizing opinions among her listeners and critics. These genre-heavy sounds are often growers but showcase her ability to adopt & complement a soundscape with her own artistry. 
 
UV, HM, and NFR are practically equal in my eyes, but personal (and very subjective) wish for her last record was that it would have a more..readily recognizable(?) sound. Idk if this makes sense but maybe someone gets it 

whenever get free comes on i fantasize im one of those basic white bitches in an indie movie who's leaning her head on her arm with the other out the window of a car, driving along the california coast. then i walk in slow mo on the beach, facing away from the camera, obviously 
 
what im saying is that get free makes me feel like i don't have mental illness for 4 minutes and im forever grateful for her 

Hi everyone!
I've very excited to announce that I've just onboarded two new moderators to our Moderator Team - @Clampigirl & @takeitdoen 
As I'll be largely away from the site for the next two weeks or so (and the past 4 days of my absence have proved you all are naughty and need someone to lay down the law) as well as more Chemtrails stuff approaching us, I thought now would be a good time to onboard them, so they'll be helping out with keeping the site all neat and clean.
 
I'm very grateful for their willingness to help out LanaBoards and keep everything under control, so please give them a warm welcome to our ModSquad!
 
xx

Lana albums as types of alcohol even tho nobody asked  (I decided not to include mixed drinks except for in brackets lmao it felt like cheating)
 
AKA - Beer [idk why but this album reminds me of the end of a party where everyone else is asleep and only you and the person you have a crush on are awake and you're sat talking quietly in the warm orange lights; everybody drank all the more exciting booze like vodka and wine during the party so the only thing left is warm cheap beer but you drink it anyway, just so you can fuel your conversation a little more ]
Born To Die - Vodka
Paradise - Vermouth
Ultraviolence - Whiskey!!!! 100000% whiskey
Honeymoon - Gin [especially gin and tonic or gin-based cocktails]
Lust For Life - White wine [especially white wine spritzer!!]
Norman Fucking Rockwell! - Brandy

Sincerely don’t want to get dragged for this, but I’m lowkey excited for the next book! 
 
From her description, Violet seemed to be a collection of both old and new poems, and I think Behind the Iron Gates reflects more recent, matured writing. Patent Leather Do-Over honestly blew me away (especially the middle chunk of it), and I’m truthfully way more excited about this project than I was Violet!

I think every album Lana has put out is uniquely her. I know a ton of people miss the lyricism of BTD, but I feel flowery language can only get you so far before it gets stale. Keeping the same style as BTD with all of her albums would have pushed her into a corner. 
 
I mean, looking back at it, I feel like the subject of Lana losing her spark has been going on since ultraviolence. I remember the complaints about her writing abilities tanking then Honeymoon came and UV was amazing then LFL came and Honeymoon was put on a pedestal and etc. I would agree that she’s simplified her...vision as the album cycles go on but I believe that’s it’s more maturing/her realizing her standing in Hollywood. She doesn’t really have to put on a theatrical album that makes you wish you had an older boyfriend that deals with drug money and buys you pink lipgloss and has women on the side because she’s solidified her skills in the music world. 
 
I can say good things about each album, I can say bad things about each too. Maybe it’s unpopular to overall like every album she’s put out? Lol. Let Me Love You is actually the first single she’s put out then left me feeling eh, but I have hopes for the album given the teaser we got. 

the neon jacket on the nfr cover was cute

NOW that is an unpopular opinion 

It’s such a cute and cinematic-sounding song, but I find myself rarely listening to it because it does very little for me. It’s mostly a personal preference for me, but I 100% agree lol

NFR, as with any of Lana’s records, contains its fair share undeveloped songwriting, but I don’t think that writing that is accessible, less shocking, and/or cinematic is indicative of poor lyricism as much as a matter of personal preference (if that makes any sense). 
 
My appeal to NFR’s songwriting (especially in tracks like hope, The greatest, MAC) largely stems from how purposeful she utilizes her references, analogies, and sensory details. Not only that, but she also maintains a sense of intimacy even when she’s drawing from a pool of extremely specific life experiences; the line, “Serving up god in a burnt coffee pot for the triad,” is a great instance of this. 
 
Again, I totally agree that NFR has plenty moments where the writing is cliched or lacking in nuance, but the same could also be said for her other records as well. However, I’d argue that many of NFR’s most mature lyrical moments show a clear progression from the most developed of her past records, but that’s just me
 
also can’t figure out how to remove the spoiler so just ignore her lol