PatentLeatherDoOver

LB users opening this thread to PlantGate after seeing it was designated *Hot* due to activity

Instead of escaping the wildfires, Del Rey steers herself straight into them on her ninth studio album. 
 
There’s a seamless sense of continuity between the tracks on the record, with wah-wah pedals bleeding into warm synths and melting horn blows. The record almost seems to hearken back to the psychedelic languor of Honeymoon, but the surf rock influence that we heard breaths of in the Antonoff-produced Fuck it I love you has finally reached its full form. 
 
The middle of the record takes an interesting twist with Bruise: the acid-tab-fed, siren little sister of Dealer. From this point on, the record becomes both darker and more abstract in its lyricism until the final, most jarringly autobiographical track of her career—Out Of The Ashes.
 
“The loves I lost to camera shutters/Wish I had no voice/But still I sing for you,” she says a final time in the absence of any instrumentation, punctuating the record with a half-whispered confession that leaves you uncomfortable for hearing something so personal.
 
★★★★★   

Instead of escaping the wildfires, Del Rey steers herself straight into them on her ninth studio album. 
 
There’s a seamless sense of continuity between the tracks on the record, with wah-wah pedals bleeding into warm synths and melting horn blows. The record almost seems to hearken back to the psychedelic languor of Honeymoon, but the surf rock influence that we heard breaths of in the Antonoff-produced Fuck it I love you has finally reached its full form. 
 
The middle of the record takes an interesting twist with Bruise: the acid-tab-fed, siren little sister of Dealer. From this point on, the record becomes both darker and more abstract in its lyricism until the final, most jarringly autobiographical track of her career—Out Of The Ashes.
 
“The loves I lost to camera shutters/Wish I had no voice/But still I sing for you,” she says a final time in the absence of any instrumentation, punctuating the record with a half-whispered confession that leaves you uncomfortable for hearing something so personal.
 
★★★★★   

my Thai basil plant said Hans Zimmer is producing the entirety of LDR9
 
atmospheric retro space synth psychedelia magnum opus incoming!!!

The tiny orchids on my windowsill told me that she's rereleasing AKA with a bonus EP of unreleased Lizzy songs
The plants don't lie

I still have hopes this could happen some day. I would like to see it

LB users opening this thread to PlantGate after seeing it was designated *Hot* due to activity

Instead of escaping the wildfires, Del Rey steers herself straight into them on her ninth studio album. 
 
There’s a seamless sense of continuity between the tracks on the record, with wah-wah pedals bleeding into warm synths and melting horn blows. The record almost seems to hearken back to the psychedelic languor of Honeymoon, but the surf rock influence that we heard breaths of in the Antonoff-produced Fuck it I love you has finally reached its full form. 
 
The middle of the record takes an interesting twist with Bruise: the acid-tab-fed, siren little sister of Dealer. From this point on, the record becomes both darker and more abstract in its lyricism until the final, most jarringly autobiographical track of her career—Out Of The Ashes.
 
“The loves I lost to camera shutters/Wish I had no voice/But still I sing for you,” she says a final time in the absence of any instrumentation, punctuating the record with a half-whispered confession that leaves you uncomfortable for hearing something so personal.
 
★★★★★   

LB users opening this thread to PlantGate after seeing it was designated *Hot* due to activity

i went for a walk & the trees & wind told me we’ll be getting a “oh say can you see”-esque album

Instead of escaping the wildfires, Del Rey steers herself straight into them on her ninth studio album. 
 
There’s a seamless sense of continuity between the tracks on the record, with wah-wah pedals bleeding into warm synths and melting horn blows. The record almost seems to hearken back to the psychedelic languor of Honeymoon, but the surf rock influence that we heard breaths of in the Antonoff-produced Fuck it I love you has finally reached its full form. 
 
The middle of the record takes an interesting twist with Bruise: the acid-tab-fed, siren little sister of Dealer. From this point on, the record becomes both darker and more abstract in its lyricism until the final, most jarringly autobiographical track of her career—Out Of The Ashes.
 
“The loves I lost to camera shutters/Wish I had no voice/But still I sing for you,” she says a final time in the absence of any instrumentation, punctuating the record with a half-whispered confession that leaves you uncomfortable for hearing something so personal.
 
★★★★★   

woah that's wild my Aloe Vera said simmilar. Truly the plants know all!!

Instead of escaping the wildfires, Del Rey steers herself straight into them on her ninth studio album. 
 
There’s a seamless sense of continuity between the tracks on the record, with wah-wah pedals bleeding into warm synths and melting horn blows. The record almost seems to hearken back to the psychedelic languor of Honeymoon, but the surf rock influence that we heard breaths of in the Antonoff-produced Fuck it I love you has finally reached its full form. 
 
The middle of the record takes an interesting twist with Bruise: the acid-tab-fed, siren little sister of Dealer. From this point on, the record becomes both darker and more abstract in its lyricism until the final, most jarringly autobiographical track of her career—Out Of The Ashes.
 
“The loves I lost to camera shutters/Wish I had no voice/But still I sing for you,” she says a final time in the absence of any instrumentation, punctuating the record with a half-whispered confession that leaves you uncomfortable for hearing something so personal.
 
★★★★★   

Instead of escaping the wildfires, Del Rey steers herself straight into them on her ninth studio album. 
 
There’s a seamless sense of continuity between the tracks on the record, with wah-wah pedals bleeding into warm synths and melting horn blows. The record almost seems to hearken back to the psychedelic languor of Honeymoon, but the surf rock influence that we heard breaths of in the Antonoff-produced Fuck it I love you has finally reached its full form. 
 
The middle of the record takes an interesting twist with Bruise: the acid-tab-fed, siren little sister of Dealer. From this point on, the record becomes both darker and more abstract in its lyricism until the final, most jarringly autobiographical track of her career—Out Of The Ashes.
 
“The loves I lost to camera shutters/Wish I had no voice/But still I sing for you,” she says a final time in the absence of any instrumentation, punctuating the record with a half-whispered confession that leaves you uncomfortable for hearing something so personal.
 
★★★★★   

Dolphin, Never Calamari

dolphins not carps  

you have revealed the title: Dolphins Never Cry
the power of dreams
 

dolphin flower

streets are saying there's a song called to the lake or to the sea 

i had a dream last night that lana revealed the front & back cover of the album on instagram, the album artwork had this vaporwave/neon city/neon palmmm aesthetic & it was 13 tracks, the only track name i remember was track 9, & it wasn’t a word, instead, it was two photos of dolphins, like…
 
9.  
 

Me reading this thread as if I've ever been able to tell the difference between HQ and LQ audio files 
 

hope 

Florida Kilos

Florida Kilos

I adore this album. That's all, really.