Red Dress

I just typed a response to that, then realised I was thinking of something else entirely wrong. You're right, the 'Lake Placid' version is probably something that she could properly release now and it'd fit on whatever album she releases. It's radio friendly, if a little dull.

i may shock u but there is leaked song lake placid that is actually a rework of i don’t wanna go made in 2013!

gurlies it's delulu season

No, I’m absolutely loving your contribution here. I like the lengthy analysis. And wow, I’ve never agreed more. I would love a “sluttily slowed down” Dum Dum in her lower register. I think you and I have similar tastes. And want the same thing from Lana.

If she's using old, leaked, unofficially released tracks, I'd put my money on her reworking 'I Don't Want To Go, because it's already kida sparse so stripping down the instruments to an acoustic guitar and piano, would actually work very well. And then if she had some experimental bits of sound (kinda like what Emilie did with BTD) they could elevate it tp something pretty cool sounding. Same with 'Maha Maha' 'Starry Eyes' and 'Pin Up Galore' which both have a lot of potential for a rework. (I think my chances of hearing a new version of 'Golden Grill' have plummeted to around zero by now, lol.) She might feel like reworking JFK in a weird democrat-adjacent nod to RFK Junior, with the election coming up. Just a possibility. 
 

Also I wouldn't necessarily worry about the studio she's in. Artists often choose a studio because it has the kind of sound they want to opt for. Like, Abbey Road is considered the place where the Beatles recorded music and some people assume that anyone recording there is trying to create something Beatles-esque, when in reality, the place has a beautifully pure, acoustic sound that lots of other musicians want to make the most of. Conversely, some people want to opt for a smaller, cosier more intimate studio that they can relax into while recording. If she's freestyling lyrics she'll want a more intimate, smaller venue where he can communicate with the others easily, and no have to worry about being able to project and fill a larger space with her vocals that aren't even singing something concrete and memorised yet. If it's somewhere she's familiar with, that will also help her to relax, get into her creative headspace and churn out some hopefully great songs.

If she's using old, leaked, unofficially released tracks, I'd put my money on her reworking 'I Don't Want To Go, because it's already kida sparse so stripping down the instruments to an acoustic guitar and piano, would actually work very well. And then if she had some experimental bits of sound (kinda like what Emilie did with BTD) they could elevate it tp something pretty cool sounding. Same with 'Maha Maha' 'Starry Eyes' and 'Pin Up Galore' which both have a lot of potential for a rework. (I think my chances of hearing a new version of 'Golden Grill' have plummeted to around zero by now, lol.) She might feel like reworking JFK in a weird democrat-adjacent nod to RFK Junior, with the election coming up. Just a possibility. 
 

Also I wouldn't necessarily worry about the studio she's in. Artists often choose a studio because it has the kind of sound they want to opt for. Like, Abbey Road is considered the place where the Beatles recorded music and some people assume that anyone recording there is trying to create something Beatles-esque, when in reality, the place has a beautifully pure, acoustic sound that lots of other musicians want to make the most of. Conversely, some people want to opt for a smaller, cosier more intimate studio that they can relax into while recording. If she's freestyling lyrics she'll want a more intimate, smaller venue where he can communicate with the others easily, and no have to worry about being able to project and fill a larger space with her vocals that aren't even singing something concrete and memorised yet. If it's somewhere she's familiar with, that will also help her to relax, get into her creative headspace and churn out some hopefully great songs.

If she's using old, leaked, unofficially released tracks, I'd put my money on her reworking 'I Don't Want To Go, because it's already kida sparse so stripping down the instruments to an acoustic guitar and piano, would actually work very well. And then if she had some experimental bits of sound (kinda like what Emilie did with BTD) they could elevate it tp something pretty cool sounding. Same with 'Maha Maha' 'Starry Eyes' and 'Pin Up Galore' which both have a lot of potential for a rework. (I think my chances of hearing a new version of 'Golden Grill' have plummeted to around zero by now, lol.) She might feel like reworking JFK in a weird democrat-adjacent nod to RFK Junior, with the election coming up. Just a possibility. 
 

Also I wouldn't necessarily worry about the studio she's in. Artists often choose a studio because it has the kind of sound they want to opt for. Like, Abbey Road is considered the place where the Beatles recorded music and some people assume that anyone recording there is trying to create something Beatles-esque, when in reality, the place has a beautifully pure, acoustic sound that lots of other musicians want to make the most of. Conversely, some people want to opt for a smaller, cosier more intimate studio that they can relax into while recording. If she's freestyling lyrics she'll want a more intimate, smaller venue where he can communicate with the others easily, and no have to worry about being able to project and fill a larger space with her vocals that aren't even singing something concrete and memorised yet. If it's somewhere she's familiar with, that will also help her to relax, get into her creative headspace and churn out some hopefully great songs.

I want her to re-embrace her sultry vixen side, now that she's gone through the cathartic, vulnerable stuff. Obviously I'm not expecting her to return to her younger style (she's older and more mature like the rest of us) but I want some kind of voluptuous, sexy vibe. Like sonically I'm after some 'Million Dollar Man' and 'Your Girl'' 'Gods & Monsters' 'Hollywood's Dead' 'Terrence Loves You' 'Yayo' kind of sounds, with stuff like 'Thunder' 'Dealer' and 'Wait For Life'. Bring Back Emile for the big sound production, with some 'Is This Happiness', 'Heroin', 'Beautiful Player',  'Black Beauty', 'Shades Of cool' 'JFK' 'Buddy's Rendezvous'' and '13 Beaches' type of tracks in there for slower dramatic dreaminess. 
 
I was also obsessively listening to 'Playing Dangerous' recently and the way she had sampled some old 60's girl band stuff reminded me of a couple of the songs on Adele's last album. I love that retro groove (and it could possibly help to get her a 'chart-worthy song that appeals to the masses), so some stuff like that, maybe channelling some Dusty Springfield drama. (This sort of thing could really work with a bit of Mark Ronson magic)
 
Being in Alabama though I think we are going to see some country vibe, and I really hope that if she does, she takes it in the direction of Amanda Shires (her recent album 'Take It Like A Man' has a few tracks on there that would suit Lana's voice. (Everyone should listen to that album, as well as Shires's 'Down Came The Doves album; trust me, you'll love them both)  And if she could get on board with some dramatic country 'Murder Ballads' she would absolutely "kill" it.
 
(If she's thinking of incorporating some southern state, working class vibe and references anything do with waitressing in restaurants, I'd LOVE her to shake it up with some dreamy, 'Twin Peaks' sounds and iconography. She could really shine in that vein)
 
(Just please don't work with, or even mention Nikki fricking Lane again please. That chick is drab AF) 
 
If I were to get my absolute perfect album it would be Lana collaborating with Nick Cave for some dark, haunting and brooding, American Gothic inspired murder ballads and dramatic
storytelling, with some of it potentially set amid a beautiful, crumbling, antebellum mansion. I would die a very happy woman if that combo ever came together! 
 
I'm also so over trying to shoehorn political crap and clumsy, out of place tokenism, into music. Stop trying to prove to the crazy far leftists that you're not a racist, homophobe or whatever the insult du jour happens to be. Fuck what anyone thinks or says if you just happen to make an album without a bunch of other women and non-white people in it, that's perfectly fine. I'm not saying to avoid working with people of any stripe based on their identity. I just want things to be organically complimentary to the themes and musicality of the songs. You can never appease the mad people. Just focus on making the best music you possibly can with the best people for the job. (which incidentally precludes Nikki Lane from even being allowed to set foot in the studio, lol!
 
I want dark, sexy, seductress Lana, embracing her femininity, but with that dramatic vixen vibe she owns so well.
 
Jazzy, dark and sexy. Bring sexy back Lana!
 
(And if 'Children Of The Bad Revolution' or 'Catch and Release' could be reworked to modernise them in a way that made them still relevant, would be awesome. But I obviously have  tendency to want and hope for the absolute impossible. But she really does have to work with Nick Cave at some point. They would be perfect together. Someone needs to make it happen!)

If she's using old, leaked, unofficially released tracks, I'd put my money on her reworking 'I Don't Want To Go, because it's already kida sparse so stripping down the instruments to an acoustic guitar and piano, would actually work very well. And then if she had some experimental bits of sound (kinda like what Emilie did with BTD) they could elevate it tp something pretty cool sounding. Same with 'Maha Maha' 'Starry Eyes' and 'Pin Up Galore' which both have a lot of potential for a rework. (I think my chances of hearing a new version of 'Golden Grill' have plummeted to around zero by now, lol.) She might feel like reworking JFK in a weird democrat-adjacent nod to RFK Junior, with the election coming up. Just a possibility. 
 

Also I wouldn't necessarily worry about the studio she's in. Artists often choose a studio because it has the kind of sound they want to opt for. Like, Abbey Road is considered the place where the Beatles recorded music and some people assume that anyone recording there is trying to create something Beatles-esque, when in reality, the place has a beautifully pure, acoustic sound that lots of other musicians want to make the most of. Conversely, some people want to opt for a smaller, cosier more intimate studio that they can relax into while recording. If she's freestyling lyrics she'll want a more intimate, smaller venue where he can communicate with the others easily, and no have to worry about being able to project and fill a larger space with her vocals that aren't even singing something concrete and memorised yet. If it's somewhere she's familiar with, that will also help her to relax, get into her creative headspace and churn out some hopefully great songs.

I want her to re-embrace her sultry vixen side, now that she's gone through the cathartic, vulnerable stuff. Obviously I'm not expecting her to return to her younger style (she's older and more mature like the rest of us) but I want some kind of voluptuous, sexy vibe. Like sonically I'm after some 'Million Dollar Man' and 'Your Girl'' 'Gods & Monsters' 'Hollywood's Dead' 'Terrence Loves You' 'Yayo' kind of sounds, with stuff like 'Thunder' 'Dealer' and 'Wait For Life'. Bring Back Emile for the big sound production, with some 'Is This Happiness', 'Heroin', 'Beautiful Player',  'Black Beauty', 'Shades Of cool' 'JFK' 'Buddy's Rendezvous'' and '13 Beaches' type of tracks in there for slower dramatic dreaminess. 
 
I was also obsessively listening to 'Playing Dangerous' recently and the way she had sampled some old 60's girl band stuff reminded me of a couple of the songs on Adele's last album. I love that retro groove (and it could possibly help to get her a 'chart-worthy song that appeals to the masses), so some stuff like that, maybe channelling some Dusty Springfield drama. (This sort of thing could really work with a bit of Mark Ronson magic)
 
Being in Alabama though I think we are going to see some country vibe, and I really hope that if she does, she takes it in the direction of Amanda Shires (her recent album 'Take It Like A Man' has a few tracks on there that would suit Lana's voice. (Everyone should listen to that album, as well as Shires's 'Down Came The Doves album; trust me, you'll love them both)  And if she could get on board with some dramatic country 'Murder Ballads' she would absolutely "kill" it.
 
(If she's thinking of incorporating some southern state, working class vibe and references anything do with waitressing in restaurants, I'd LOVE her to shake it up with some dreamy, 'Twin Peaks' sounds and iconography. She could really shine in that vein)
 
(Just please don't work with, or even mention Nikki fricking Lane again please. That chick is drab AF) 
 
If I were to get my absolute perfect album it would be Lana collaborating with Nick Cave for some dark, haunting and brooding, American Gothic inspired murder ballads and dramatic
storytelling, with some of it potentially set amid a beautiful, crumbling, antebellum mansion. I would die a very happy woman if that combo ever came together! 
 
I'm also so over trying to shoehorn political crap and clumsy, out of place tokenism, into music. Stop trying to prove to the crazy far leftists that you're not a racist, homophobe or whatever the insult du jour happens to be. Fuck what anyone thinks or says if you just happen to make an album without a bunch of other women and non-white people in it, that's perfectly fine. I'm not saying to avoid working with people of any stripe based on their identity. I just want things to be organically complimentary to the themes and musicality of the songs. You can never appease the mad people. Just focus on making the best music you possibly can with the best people for the job. (which incidentally precludes Nikki Lane from even being allowed to set foot in the studio, lol!
 
I want dark, sexy, seductress Lana, embracing her femininity, but with that dramatic vixen vibe she owns so well.
 
Jazzy, dark and sexy. Bring sexy back Lana!
 
(And if 'Children Of The Bad Revolution' or 'Catch and Release' could be reworked to modernise them in a way that made them still relevant, would be awesome. But I obviously have  tendency to want and hope for the absolute impossible. But she really does have to work with Nick Cave at some point. They would be perfect together. Someone needs to make it happen!)

I want her to re-embrace her sultry vixen side, now that she's gone through the cathartic, vulnerable stuff. Obviously I'm not expecting her to return to her younger style (she's older and more mature like the rest of us) but I want some kind of voluptuous, sexy vibe. Like sonically I'm after some 'Million Dollar Man' and 'Your Girl'' 'Gods & Monsters' 'Hollywood's Dead' 'Terrence Loves You' 'Yayo' kind of sounds, with stuff like 'Thunder' 'Dealer' and 'Wait For Life'. Bring Back Emile for the big sound production, with some 'Is This Happiness', 'Heroin', 'Beautiful Player',  'Black Beauty', 'Shades Of cool' 'JFK' 'Buddy's Rendezvous'' and '13 Beaches' type of tracks in there for slower dramatic dreaminess. 
 
I was also obsessively listening to 'Playing Dangerous' recently and the way she had sampled some old 60's girl band stuff reminded me of a couple of the songs on Adele's last album. I love that retro groove (and it could possibly help to get her a 'chart-worthy song that appeals to the masses), so some stuff like that, maybe channelling some Dusty Springfield drama. (This sort of thing could really work with a bit of Mark Ronson magic)
 
Being in Alabama though I think we are going to see some country vibe, and I really hope that if she does, she takes it in the direction of Amanda Shires (her recent album 'Take It Like A Man' has a few tracks on there that would suit Lana's voice. (Everyone should listen to that album, as well as Shires's 'Down Came The Doves album; trust me, you'll love them both)  And if she could get on board with some dramatic country 'Murder Ballads' she would absolutely "kill" it.
 
(If she's thinking of incorporating some southern state, working class vibe and references anything do with waitressing in restaurants, I'd LOVE her to shake it up with some dreamy, 'Twin Peaks' sounds and iconography. She could really shine in that vein)
 
(Just please don't work with, or even mention Nikki fricking Lane again please. That chick is drab AF) 
 
If I were to get my absolute perfect album it would be Lana collaborating with Nick Cave for some dark, haunting and brooding, American Gothic inspired murder ballads and dramatic
storytelling, with some of it potentially set amid a beautiful, crumbling, antebellum mansion. I would die a very happy woman if that combo ever came together! 
 
I'm also so over trying to shoehorn political crap and clumsy, out of place tokenism, into music. Stop trying to prove to the crazy far leftists that you're not a racist, homophobe or whatever the insult du jour happens to be. Fuck what anyone thinks or says if you just happen to make an album without a bunch of other women and non-white people in it, that's perfectly fine. I'm not saying to avoid working with people of any stripe based on their identity. I just want things to be organically complimentary to the themes and musicality of the songs. You can never appease the mad people. Just focus on making the best music you possibly can with the best people for the job. (which incidentally precludes Nikki Lane from even being allowed to set foot in the studio, lol!
 
I want dark, sexy, seductress Lana, embracing her femininity, but with that dramatic vixen vibe she owns so well.
 
Jazzy, dark and sexy. Bring sexy back Lana!
 
(And if 'Children Of The Bad Revolution' or 'Catch and Release' could be reworked to modernise them in a way that made them still relevant, would be awesome. But I obviously have  tendency to want and hope for the absolute impossible. But she really does have to work with Nick Cave at some point. They would be perfect together. Someone needs to make it happen!)

the exception to this is let the light in, that track worked so well because fjm was just harmonizing with her and contributed to the vintage effect of that song. plus i didn’t mind jon batiste at the end of candy necklace. but tommy genesis taking up majority of peppers and being louder than lana…jack’s unintelligible parts in margaret…two interludes that were just yelling…it was a no from me.

I kinda hope she doesn't collab with anyone this time. And I especially hope that she never has Jack sing on a track again 

when she makes a portishead-esque song on the new album then what

We were BORN TO DIE
We visited PARADISE
We survived his ULTRAVIOLENCE
We went on our HONEYMOON
We have a LUST FOR LIFE
We watched NORMAN FUCKING ROCKWELL!
We had a QUESTION FOR THE CULTURE
We walked through the door past the open concept and saw VIOLET BENT BACKWARDS OVER THE GRASS
We played it cool under the CHEMTRAILS OVER THE COUNTRY CLUB
We painted our BLUE BANISTERS
We asked DID YOU KNOW THAT THERE’S A TUNNEL UNDER OCEAN BLVD
 
And now we suffer in the LDR10 PRE-PRE-RELEASE THREAD!!!!! LITTLE FUCKERS UNITE!!!!!!!!!

i swear to God she can never satisfy any of their asses, and i'm glad that Lana isnt someone like Taylor - who 80% listens to their fans demanding shits even when it's uninspired.
imagine if Lana was that kind of artist who clings on their old smash hits? she'd be looking like Meghan Trainor making songs like "made you look" for tik tok and shit
imagine if Lana made BTD / UV carbon copies instead of innovative songwriting? she'd never be respected as a legacy artist she is now
Lana is playing all her cards well & right & perfectly, after Ocean Blvd, i know her vision is so beyond us and her mind is insane - we got to accept that Lana is at her best when we know nothing to expect from her upcoming projects and that's why we're stans in the first place. I mean just look at the patern:
- people hated UV when it came out in 2014, because it sounds nothing like BTD, it was so raw, too "dark", not as dreamy, string-y and cinematic as BTD
- let's not lie and accept that most of us didn't give a fuck about Honeymoon when it first came out, we only cherish its beauty in these recent years, and the numbers tell no lies, Honeymoon doesnt do good numbers as its predecessors
- y'all literally hated L4L
- some of us hated NFR when it leaked in shitty quality, we even hated the muffled piano and the fact that she teased 80% of the album (until y'all see its widespread acclaim of course)
- Chemtrails & BB still has haters now but we have come to appreciation for these albums
 
my point is - just let Lana do whatever she wants, she is a random queen, we might get a boring ass country album ,but i swear she still can give us the best acid trip ever if she's mad enough for it. She is an unusual girl, and thats why we love her.

If she's using old, leaked, unofficially released tracks, I'd put my money on her reworking 'I Don't Want To Go, because it's already kida sparse so stripping down the instruments to an acoustic guitar and piano, would actually work very well. And then if she had some experimental bits of sound (kinda like what Emilie did with BTD) they could elevate it tp something pretty cool sounding. Same with 'Maha Maha' 'Starry Eyes' and 'Pin Up Galore' which both have a lot of potential for a rework. (I think my chances of hearing a new version of 'Golden Grill' have plummeted to around zero by now, lol.) She might feel like reworking JFK in a weird democrat-adjacent nod to RFK Junior, with the election coming up. Just a possibility. 
 

Also I wouldn't necessarily worry about the studio she's in. Artists often choose a studio because it has the kind of sound they want to opt for. Like, Abbey Road is considered the place where the Beatles recorded music and some people assume that anyone recording there is trying to create something Beatles-esque, when in reality, the place has a beautifully pure, acoustic sound that lots of other musicians want to make the most of. Conversely, some people want to opt for a smaller, cosier more intimate studio that they can relax into while recording. If she's freestyling lyrics she'll want a more intimate, smaller venue where he can communicate with the others easily, and no have to worry about being able to project and fill a larger space with her vocals that aren't even singing something concrete and memorised yet. If it's somewhere she's familiar with, that will also help her to relax, get into her creative headspace and churn out some hopefully great songs.

If she's using old, leaked, unofficially released tracks, I'd put my money on her reworking 'I Don't Want To Go, because it's already kida sparse so stripping down the instruments to an acoustic guitar and piano, would actually work very well. And then if she had some experimental bits of sound (kinda like what Emilie did with BTD) they could elevate it tp something pretty cool sounding. Same with 'Maha Maha' 'Starry Eyes' and 'Pin Up Galore' which both have a lot of potential for a rework. (I think my chances of hearing a new version of 'Golden Grill' have plummeted to around zero by now, lol.) She might feel like reworking JFK in a weird democrat-adjacent nod to RFK Junior, with the election coming up. Just a possibility. 
 

Also I wouldn't necessarily worry about the studio she's in. Artists often choose a studio because it has the kind of sound they want to opt for. Like, Abbey Road is considered the place where the Beatles recorded music and some people assume that anyone recording there is trying to create something Beatles-esque, when in reality, the place has a beautifully pure, acoustic sound that lots of other musicians want to make the most of. Conversely, some people want to opt for a smaller, cosier more intimate studio that they can relax into while recording. If she's freestyling lyrics she'll want a more intimate, smaller venue where he can communicate with the others easily, and no have to worry about being able to project and fill a larger space with her vocals that aren't even singing something concrete and memorised yet. If it's somewhere she's familiar with, that will also help her to relax, get into her creative headspace and churn out some hopefully great songs.

I want her to re-embrace her sultry vixen side, now that she's gone through the cathartic, vulnerable stuff. Obviously I'm not expecting her to return to her younger style (she's older and more mature like the rest of us) but I want some kind of voluptuous, sexy vibe. Like sonically I'm after some 'Million Dollar Man' and 'Your Girl'' 'Gods & Monsters' 'Hollywood's Dead' 'Terrence Loves You' 'Yayo' kind of sounds, with stuff like 'Thunder' 'Dealer' and 'Wait For Life'. Bring Back Emile for the big sound production, with some 'Is This Happiness', 'Heroin', 'Beautiful Player',  'Black Beauty', 'Shades Of cool' 'JFK' 'Buddy's Rendezvous'' and '13 Beaches' type of tracks in there for slower dramatic dreaminess. 
 
I was also obsessively listening to 'Playing Dangerous' recently and the way she had sampled some old 60's girl band stuff reminded me of a couple of the songs on Adele's last album. I love that retro groove (and it could possibly help to get her a 'chart-worthy song that appeals to the masses), so some stuff like that, maybe channelling some Dusty Springfield drama. (This sort of thing could really work with a bit of Mark Ronson magic)
 
Being in Alabama though I think we are going to see some country vibe, and I really hope that if she does, she takes it in the direction of Amanda Shires (her recent album 'Take It Like A Man' has a few tracks on there that would suit Lana's voice. (Everyone should listen to that album, as well as Shires's 'Down Came The Doves album; trust me, you'll love them both)  And if she could get on board with some dramatic country 'Murder Ballads' she would absolutely "kill" it.
 
(If she's thinking of incorporating some southern state, working class vibe and references anything do with waitressing in restaurants, I'd LOVE her to shake it up with some dreamy, 'Twin Peaks' sounds and iconography. She could really shine in that vein)
 
(Just please don't work with, or even mention Nikki fricking Lane again please. That chick is drab AF) 
 
If I were to get my absolute perfect album it would be Lana collaborating with Nick Cave for some dark, haunting and brooding, American Gothic inspired murder ballads and dramatic
storytelling, with some of it potentially set amid a beautiful, crumbling, antebellum mansion. I would die a very happy woman if that combo ever came together! 
 
I'm also so over trying to shoehorn political crap and clumsy, out of place tokenism, into music. Stop trying to prove to the crazy far leftists that you're not a racist, homophobe or whatever the insult du jour happens to be. Fuck what anyone thinks or says if you just happen to make an album without a bunch of other women and non-white people in it, that's perfectly fine. I'm not saying to avoid working with people of any stripe based on their identity. I just want things to be organically complimentary to the themes and musicality of the songs. You can never appease the mad people. Just focus on making the best music you possibly can with the best people for the job. (which incidentally precludes Nikki Lane from even being allowed to set foot in the studio, lol!
 
I want dark, sexy, seductress Lana, embracing her femininity, but with that dramatic vixen vibe she owns so well.
 
Jazzy, dark and sexy. Bring sexy back Lana!
 
(And if 'Children Of The Bad Revolution' or 'Catch and Release' could be reworked to modernise them in a way that made them still relevant, would be awesome. But I obviously have  tendency to want and hope for the absolute impossible. But she really does have to work with Nick Cave at some point. They would be perfect together. Someone needs to make it happen!)

I'm totally manifesting a reworked version of 'Dum Dum', sluttily slowed down and given an ethereal angelic bit in there as a contrast.
 
(Yeah I haven't slept in nearly 3 days so my brain is all over the place. So apologies for my weird, over-analysed, scrutiny of her entire back catalogue - including the unreleased stuff - I'm just hyper AF. Coming back to the boards, to then get hyped over a new album we know nothing about, probably wasn't the smartest idea. I really need to take some sleeping tablets and go to bed. Sorry again for sperging out so much, lol.)

If she's using old, leaked, unofficially released tracks, I'd put my money on her reworking 'I Don't Want To Go, because it's already kida sparse so stripping down the instruments to an acoustic guitar and piano, would actually work very well. And then if she had some experimental bits of sound (kinda like what Emilie did with BTD) they could elevate it tp something pretty cool sounding. Same with 'Maha Maha' 'Starry Eyes' and 'Pin Up Galore' which both have a lot of potential for a rework. (I think my chances of hearing a new version of 'Golden Grill' have plummeted to around zero by now, lol.) She might feel like reworking JFK in a weird democrat-adjacent nod to RFK Junior, with the election coming up. Just a possibility. 
 

Also I wouldn't necessarily worry about the studio she's in. Artists often choose a studio because it has the kind of sound they want to opt for. Like, Abbey Road is considered the place where the Beatles recorded music and some people assume that anyone recording there is trying to create something Beatles-esque, when in reality, the place has a beautifully pure, acoustic sound that lots of other musicians want to make the most of. Conversely, some people want to opt for a smaller, cosier more intimate studio that they can relax into while recording. If she's freestyling lyrics she'll want a more intimate, smaller venue where he can communicate with the others easily, and no have to worry about being able to project and fill a larger space with her vocals that aren't even singing something concrete and memorised yet. If it's somewhere she's familiar with, that will also help her to relax, get into her creative headspace and churn out some hopefully great songs.

Eating my toenails rn. I need the music now

They also think rehiring Rick Nowels or some old producer will bring ''old Lana'' back, but it won't. Remember when Lana and Jack first got together and everyone thought it would sound like Melodrama? Or when she got with Mike Dean and they thought we would get electic guitars and synths? Time to wake up and smell the damn coffee! Lana is not some newbie anymore, she's fully in charge.
 
 

I want her to re-embrace her sultry vixen side, now that she's gone through the cathartic, vulnerable stuff. Obviously I'm not expecting her to return to her younger style (she's older and more mature like the rest of us) but I want some kind of voluptuous, sexy vibe. Like sonically I'm after some 'Million Dollar Man' and 'Your Girl'' 'Gods & Monsters' 'Hollywood's Dead' 'Terrence Loves You' 'Yayo' kind of sounds, with stuff like 'Thunder' 'Dealer' and 'Wait For Life'. Bring Back Emile for the big sound production, with some 'Is This Happiness', 'Heroin', 'Beautiful Player',  'Black Beauty', 'Shades Of cool' 'JFK' 'Buddy's Rendezvous'' and '13 Beaches' type of tracks in there for slower dramatic dreaminess. 
 
I was also obsessively listening to 'Playing Dangerous' recently and the way she had sampled some old 60's girl band stuff reminded me of a couple of the songs on Adele's last album. I love that retro groove (and it could possibly help to get her a 'chart-worthy song that appeals to the masses), so some stuff like that, maybe channelling some Dusty Springfield drama. (This sort of thing could really work with a bit of Mark Ronson magic)
 
Being in Alabama though I think we are going to see some country vibe, and I really hope that if she does, she takes it in the direction of Amanda Shires (her recent album 'Take It Like A Man' has a few tracks on there that would suit Lana's voice. (Everyone should listen to that album, as well as Shires's 'Down Came The Doves album; trust me, you'll love them both)  And if she could get on board with some dramatic country 'Murder Ballads' she would absolutely "kill" it.
 
(If she's thinking of incorporating some southern state, working class vibe and references anything do with waitressing in restaurants, I'd LOVE her to shake it up with some dreamy, 'Twin Peaks' sounds and iconography. She could really shine in that vein)
 
(Just please don't work with, or even mention Nikki fricking Lane again please. That chick is drab AF) 
 
If I were to get my absolute perfect album it would be Lana collaborating with Nick Cave for some dark, haunting and brooding, American Gothic inspired murder ballads and dramatic
storytelling, with some of it potentially set amid a beautiful, crumbling, antebellum mansion. I would die a very happy woman if that combo ever came together! 
 
I'm also so over trying to shoehorn political crap and clumsy, out of place tokenism, into music. Stop trying to prove to the crazy far leftists that you're not a racist, homophobe or whatever the insult du jour happens to be. Fuck what anyone thinks or says if you just happen to make an album without a bunch of other women and non-white people in it, that's perfectly fine. I'm not saying to avoid working with people of any stripe based on their identity. I just want things to be organically complimentary to the themes and musicality of the songs. You can never appease the mad people. Just focus on making the best music you possibly can with the best people for the job. (which incidentally precludes Nikki Lane from even being allowed to set foot in the studio, lol!
 
I want dark, sexy, seductress Lana, embracing her femininity, but with that dramatic vixen vibe she owns so well.
 
Jazzy, dark and sexy. Bring sexy back Lana!
 
(And if 'Children Of The Bad Revolution' or 'Catch and Release' could be reworked to modernise them in a way that made them still relevant, would be awesome. But I obviously have  tendency to want and hope for the absolute impossible. But she really does have to work with Nick Cave at some point. They would be perfect together. Someone needs to make it happen!)

If there’s anything I’ve learned in my 12 years of being a fan, it’s that you can’t always tell what an album is going to be like with Lana before it’s released. Especially in these early stages - people have been preemptively shitting on certain genres for the last 3 album cycles and she’s always pulled through with sonic and lyrical surprises.