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Lana Del Rey’s latest studio record is a stunning reflection of all her many shades—the dark, the delicate, and undeniably enigmatic. 
 
The self-titled record opens with the gorgeous Death Never Came: a powerful punctuation to the narrative paved by Born To Die and Lust For Life.
 
“In the smog of the morning, I’d dig my own grave/Only to rise and then find/My death never came.” In the final chorus, her voice soars on the last word, bleeding into a small crying of strings and almost whimsical ambient. 
 
The record is imbued with this somberness, but it doesn’t seem to weigh the singer-songwriter down. The opening track swims into the almost sinisterly sarcastic Orchids From A Friend, a track both sonically reminiscent of the work on Portishead’s Dummy and Del Rey’s own debut record as well. 
 
She closes the record with “The Walls Whisper My Name,” leaving the listener with more questions than answers, shrouding herself in a larger-than-life sense of mystery that permeated her early works like Honeymoon. 
 
Her 9th studio record is one of her best, so brace yourself: it’s a thrilling ride from start to finish. 

Lana Del Rey’s latest studio record is a stunning reflection of all her many shades—the dark, the delicate, and undeniably enigmatic. 
 
The self-titled record opens with the gorgeous Death Never Came: a powerful punctuation to the narrative paved by Born To Die and Lust For Life.
 
“In the smog of the morning, I’d dig my own grave/Only to rise and then find/My death never came.” In the final chorus, her voice soars on the last word, bleeding into a small crying of strings and almost whimsical ambient. 
 
The record is imbued with this somberness, but it doesn’t seem to weigh the singer-songwriter down. The opening track swims into the almost sinisterly sarcastic Orchids From A Friend, a track both sonically reminiscent of the work on Portishead’s Dummy and Del Rey’s own debut record as well. 
 
She closes the record with “The Walls Whisper My Name,” leaving the listener with more questions than answers, shrouding herself in a larger-than-life sense of mystery that permeated her early works like Honeymoon. 
 
Her 9th studio record is one of her best, so brace yourself: it’s a thrilling ride from start to finish. 

Lana Del Rey’s latest studio record is a stunning reflection of all her many shades—the dark, the delicate, and undeniably enigmatic. 
 
The self-titled record opens with the gorgeous Death Never Came: a powerful punctuation to the narrative paved by Born To Die and Lust For Life.
 
“In the smog of the morning, I’d dig my own grave/Only to rise and then find/My death never came.” In the final chorus, her voice soars on the last word, bleeding into a small crying of strings and almost whimsical ambient. 
 
The record is imbued with this somberness, but it doesn’t seem to weigh the singer-songwriter down. The opening track swims into the almost sinisterly sarcastic Orchids From A Friend, a track both sonically reminiscent of the work on Portishead’s Dummy and Del Rey’s own debut record as well. 
 
She closes the record with “The Walls Whisper My Name,” leaving the listener with more questions than answers, shrouding herself in a larger-than-life sense of mystery that permeated her early works like Honeymoon. 
 
Her 9th studio record is one of her best, so brace yourself: it’s a thrilling ride from start to finish. 

I just woke up but here’s my first (unserious) guess: 
 
God, please save only the souls of my friends who hear devils singing faithlessly. 
 

 

Lana Del Rey’s latest studio record is a stunning reflection of all her many shades—the dark, the delicate, and undeniably enigmatic. 
 
The self-titled record opens with the gorgeous Death Never Came: a powerful punctuation to the narrative paved by Born To Die and Lust For Life.
 
“In the smog of the morning, I’d dig my own grave/Only to rise and then find/My death never came.” In the final chorus, her voice soars on the last word, bleeding into a small crying of strings and almost whimsical ambient. 
 
The record is imbued with this somberness, but it doesn’t seem to weigh the singer-songwriter down. The opening track swims into the almost sinisterly sarcastic Orchids From A Friend, a track both sonically reminiscent of the work on Portishead’s Dummy and Del Rey’s own debut record as well. 
 
She closes the record with “The Walls Whisper My Name,” leaving the listener with more questions than answers, shrouding herself in a larger-than-life sense of mystery that permeated her early works like Honeymoon. 
 
Her 9th studio record is one of her best, so brace yourself: it’s a thrilling ride from start to finish. 

Lana Del Rey’s latest studio record is a stunning reflection of all her many shades—the dark, the delicate, and undeniably enigmatic. 
 
The self-titled record opens with the gorgeous Death Never Came: a powerful punctuation to the narrative paved by Born To Die and Lust For Life.
 
“In the smog of the morning, I’d dig my own grave/Only to rise and then find/My death never came.” In the final chorus, her voice soars on the last word, bleeding into a small crying of strings and almost whimsical ambient. 
 
The record is imbued with this somberness, but it doesn’t seem to weigh the singer-songwriter down. The opening track swims into the almost sinisterly sarcastic Orchids From A Friend, a track both sonically reminiscent of the work on Portishead’s Dummy and Del Rey’s own debut record as well. 
 
She closes the record with “The Walls Whisper My Name,” leaving the listener with more questions than answers, shrouding herself in a larger-than-life sense of mystery that permeated her early works like Honeymoon. 
 
Her 9th studio record is one of her best, so brace yourself: it’s a thrilling ride from start to finish. 

Lana Del Rey’s latest studio record is a stunning reflection of all her many shades—the dark, the delicate, and undeniably enigmatic. 
 
The self-titled record opens with the gorgeous Death Never Came: a powerful punctuation to the narrative paved by Born To Die and Lust For Life.
 
“In the smog of the morning, I’d dig my own grave/Only to rise and then find/My death never came.” In the final chorus, her voice soars on the last word, bleeding into a small crying of strings and almost whimsical ambient. 
 
The record is imbued with this somberness, but it doesn’t seem to weigh the singer-songwriter down. The opening track swims into the almost sinisterly sarcastic Orchids From A Friend, a track both sonically reminiscent of the work on Portishead’s Dummy and Del Rey’s own debut record as well. 
 
She closes the record with “The Walls Whisper My Name,” leaving the listener with more questions than answers, shrouding herself in a larger-than-life sense of mystery that permeated her early works like Honeymoon. 
 
Her 9th studio record is one of her best, so brace yourself: it’s a thrilling ride from start to finish. 

Lana Del Rey’s latest studio record is a stunning reflection of all her many shades—the dark, the delicate, and undeniably enigmatic. 
 
The self-titled record opens with the gorgeous Death Never Came: a powerful punctuation to the narrative paved by Born To Die and Lust For Life.
 
“In the smog of the morning, I’d dig my own grave/Only to rise and then find/My death never came.” In the final chorus, her voice soars on the last word, bleeding into a small crying of strings and almost whimsical ambient. 
 
The record is imbued with this somberness, but it doesn’t seem to weigh the singer-songwriter down. The opening track swims into the almost sinisterly sarcastic Orchids From A Friend, a track both sonically reminiscent of the work on Portishead’s Dummy and Del Rey’s own debut record as well. 
 
She closes the record with “The Walls Whisper My Name,” leaving the listener with more questions than answers, shrouding herself in a larger-than-life sense of mystery that permeated her early works like Honeymoon. 
 
Her 9th studio record is one of her best, so brace yourself: it’s a thrilling ride from start to finish. 

Lana Del Rey’s latest studio record is a stunning reflection of all her many shades—the dark, the delicate, and undeniably enigmatic. 
 
The self-titled record opens with the gorgeous Death Never Came: a powerful punctuation to the narrative paved by Born To Die and Lust For Life.
 
“In the smog of the morning, I’d dig my own grave/Only to rise and then find/My death never came.” In the final chorus, her voice soars on the last word, bleeding into a small crying of strings and almost whimsical ambient. 
 
The record is imbued with this somberness, but it doesn’t seem to weigh the singer-songwriter down. The opening track swims into the almost sinisterly sarcastic Orchids From A Friend, a track both sonically reminiscent of the work on Portishead’s Dummy and Del Rey’s own debut record as well. 
 
She closes the record with “The Walls Whisper My Name,” leaving the listener with more questions than answers, shrouding herself in a larger-than-life sense of mystery that permeated her early works like Honeymoon. 
 
Her 9th studio record is one of her best, so brace yourself: it’s a thrilling ride from start to finish. 

Guys please keep it on topic! All these off topic conversations and random gifs/smilies all have to be moved. Random conversation/random Lana conversation thread would be perfect for all of this 

I've never been thirstier for new Lana  
I know we got 2 albums last year but we kinda knew what was coming but this time it's all so mysterious... I'm dying to know more details

Personally, a high-quality, AI-generated album cover would be a neat concept—like one that has careful input/suggestions for the final photo and is influenced by the art of retro-futurism. 
 
LFL’s visuals clearly had some inspiration from retro-futurism (like the photo below), but…
 
I think it would be cool to see a darker perspective on this—bleaker, more apocalyptic, angry, etc.
 
I like the idea of having synths, organs, and “spacey” orchestral pieces over reverb-heavy vocals. Because of this, I am once again manifesting a Hans Zimmer collab

Maybe it’s not an acronym & Lana is submitting a song in Simlish for Sims5–we won!

Personally, a high-quality, AI-generated album cover would be a neat concept—like one that has careful input/suggestions for the final photo and is influenced by the art of retro-futurism. 
 
LFL’s visuals clearly had some inspiration from retro-futurism (like the photo below), but…
 
I think it would be cool to see a darker perspective on this—bleaker, more apocalyptic, angry, etc.
 
I like the idea of having synths, organs, and “spacey” orchestral pieces over reverb-heavy vocals. Because of this, I am once again manifesting a Hans Zimmer collab

Maybe it’s not an acronym & Lana is submitting a song in Simlish for Sims5–we won!

This is more chaotic than the Watercolor Eyes thread prior to its release i fear…
 
manifesting a moon texture vinyl for LDR9 also

Personally, a high-quality, AI-generated album cover would be a neat concept—like one that has careful input/suggestions for the final photo and is influenced by the art of retro-futurism. 
 
LFL’s visuals clearly had some inspiration from retro-futurism (like the photo below), but…
 
I think it would be cool to see a darker perspective on this—bleaker, more apocalyptic, angry, etc.
 
I like the idea of having synths, organs, and “spacey” orchestral pieces over reverb-heavy vocals. Because of this, I am once again manifesting a Hans Zimmer collab

Personally, a high-quality, AI-generated album cover would be a neat concept—like one that has careful input/suggestions for the final photo and is influenced by the art of retro-futurism. 
 
LFL’s visuals clearly had some inspiration from retro-futurism (like the photo below), but…
 
I think it would be cool to see a darker perspective on this—bleaker, more apocalyptic, angry, etc.
 
I like the idea of having synths, organs, and “spacey” orchestral pieces over reverb-heavy vocals. Because of this, I am once again manifesting a Hans Zimmer collab

Maybe it’s not an acronym & Lana is submitting a song in Simlish for Sims5–we won!

ahhhhh salve-bored-aye 
ahhh giveusthedamnalbum
ahhh whereisthealbum
ahhhh lanareleaseitnow

 
this sounded better in my tipsy ass mind. 

God, Please Save Only the Soul of My Father When Heaven Doesn’t Save Face
The tenth album from Lana Del Rey — a poetic lamentation on faith, family, and the perils of fame!

Personally, a high-quality, AI-generated album cover would be a neat concept—like one that has careful input/suggestions for the final photo and is influenced by the art of retro-futurism. 
 
LFL’s visuals clearly had some inspiration from retro-futurism (like the photo below), but…
 
I think it would be cool to see a darker perspective on this—bleaker, more apocalyptic, angry, etc.
 
I like the idea of having synths, organs, and “spacey” orchestral pieces over reverb-heavy vocals. Because of this, I am once again manifesting a Hans Zimmer collab

Personally, a high-quality, AI-generated album cover would be a neat concept—like one that has careful input/suggestions for the final photo and is influenced by the art of retro-futurism. 
 
LFL’s visuals clearly had some inspiration from retro-futurism (like the photo below), but…
 
I think it would be cool to see a darker perspective on this—bleaker, more apocalyptic, angry, etc.
 
I like the idea of having synths, organs, and “spacey” orchestral pieces over reverb-heavy vocals. Because of this, I am once again manifesting a Hans Zimmer collab