yourolllikethunder

lol I added to the questioning chorus (sorry) but only bc it was the first time I popped on LB in weeks—def wouldn’t have asked otherwise knowing it was being beat to a pulp… I think what’s at the heart of this Q for us is how much Lana will be on the track. I’m also generally interested in how artists compile albums and decide where collabs fit into larger bodies of work. & I’m ecstatic for whatever she’s doing next, esp after Fenway, and find it fun to ruminate about to distract me from my daily woes

yes, I agree! I’m excited for whatever the new era is, but The Mirror doesn’t shout Lasso to me—I’m even more excited for whatever that will be

totally, I’m just being purposefully cynical to prevent getting heartbroken in case it was renamed and/or delayed

so this is considered Quavo’s song that she’s featured on, right? I saw his name was first on the artwork in the preview. just making sure it’s not part of lasso (RIP?)

I wonder if this was another co-write/collab with Jon Batiste — it has the excellence, grit, and slightly sinister-sounding piano of candy necklace… but the bass and electronic elements make me ascenddddddd

𝓫𝓪𝓬𝓴 𝓽𝓸 𝓽𝓱𝓮 𝓽𝓸𝓹 𝓫𝓪𝓬𝓴 𝓽𝓸 𝓽𝓱𝓮 𝓫𝓪𝓼𝓲𝓬𝓼 𝓻𝓮𝓼𝓽𝓪𝓻𝓽 𝓽𝓱𝓮 𝓽𝓪𝓹𝓮 𝓵𝓪𝓴𝓮 𝓹𝓵𝓪𝓬𝓲𝓭, 𝓫𝓪𝓫𝔂 🎀 🎀 🎀 🎀 the chorus is saying something like “that’s my [whole?] future I see in you… I see it all in you” right??

same, I keep replaying the snippet! I’m so excited for this era—it seems less stripped down and more a return to her more maximalist sound

sympathy is a knife, apple, & 360 (b2b was my favorite single but now 360 is my go-to) mean girls has grown on me, the piano part is truly addictive

brat is so gooooood 🥹🥲 sympathy is a knife on repeat. apple is my bouncy summer bop. also everything is romantic feels very salvatore, the girlies who get it get it yk??? not sure it edged out HIFN for me, but with some more listens it could come close !! but I think objectively brat may be her best, a culmination of all her best sounds/tricks but the lyricism and imagery is more vulnerable than ever before.

ok but I want the blue and white floral outfit she tried on

FINALLT JUSTICE FOR GUILTY AS SIN, best track. begging her for more 90s soft rock with her slight twang… I need a whole album of guilty as sin, fresh out the slammer, would’ve could’ve should’ve sound YES MORE JUSTICE FOR GUILTY AND SLAMMER

I HAVE SO MANY THOUGHTS, normally in my Taylor Swift tradition (swiftie since ‘06) I write a mini essay immediately after first listen ecstatic about all of my new favorite songs & feeling like ‘this is the greatest thing ever’—but this time I feel overwhelmed and speechless, it’s taken me three hours to think. I love that it’s the most raw, genuine, and stream-of-consciousness that her lyrics and energy have gotten—almost like an unmasking. The standard album is so heavy and melancholic. There’s a lot of growth here even if GP won’t see it because they think it’s “Midnights 2.0” (I disagree). While there’s some sonic similarities to past work, I think there’s a new and distinct mood across this album. But beyond that, I think what’s tripping me up is that a lot of the standard album melodies are a lot different than her usual ones. They’re more wordy, sometimes without a neat pattern or catchy melody, almost like improvisation where she’s using the same melodic phrase repeatedly but with new words. I could see why she called it poetry, it feels like 75% of the album is her version of Lana’s “fingertips,” but each with a hook/chorus. This difference in melodicism from her past work I think will take a few more listens to grow on me and let my brain differentiate each track. Now, on the anthology double album side…. !!! I love these tracks but I can see why she didn’t include them. They don’t fit the quietly pulsating-with-rage-and-depression energy of the standard album, which does create a dark, Victorian-aesthetic cloud in the mind of the listener. However—and I say this as a huge fan and defender of Jack and Bleachers for many years—her tracks with Aaron continue to stand out. I think because she is typically writing to track with Aaron (writing a melody over his very innovative instrumental ideas), she comes up with really unique and interesting melodies, versus what comes to mind when she’s writing with Jack, who inspires more synth-heartland inspired atmospheres. I *love* her work with Jack, I think they have a special personal and sonic relationship and have made many, many, many of my favorite songs in the world, but I would love if she did one full-out album with Aaron, leaning into the soft rock vibes of “so high school” meets her slight twang-rock of “would’ve could’ve should’ve”, for example. Overall, I think TTPD is a masterful work that will grow on me by the minute, but I don’t feel ready to pass immediate judgement on it, in the way that I’m usually ready to right away—that’s how different it feels to me. I’m proud that she was able to release something more abstract, bitter, real, and biting while she’s on top of the world and the center of attention. She commented more than she ever has before on her own mental health (as opposed to the personal-inspired, fictitious stories in folkmore) and her complicated and painful relationship with nearly two decades of fame and those who idolize her—in a way that feels so much darker, more intense, unfiltered, and diaristic than her previous efforts. I think this is a turning point more than anything, and I’m excited for what’s next. upon first listen, my favorite tracks were: fortnight guilty as sin WAOLOM loml i can do it with a broken heart clara bow the albatross so high school I hate it here the prophecy

am I going crazy?? “we hereby conduct this post mortem” isn’t a full sentence, right? post mortem what—investigation, meeting, etc? I thought this was the last word and either I’m st00pid or it’s not mathing

Some of these nasty reviews are making me so sad. To me, Lana is a star akin to older generations—when musicians didn’t spend months training, both physically and vocally, for a show or tour, but showed up as they were, just to sing, without all of the fanfare. I absolutely appreciate spectacles like the Eras tour and Beychella, etc., those are masterful feats of artistry and intense preparation, but I just don’t feel like that’s what Lana’s after. Obviously I don’t know her personally, but to me, she’s more of a songwriter and poet who probably prefers a normal, delicate, relaxed existence (exemplified by her appearing at random garden stores and coffee shops along the California coast). I think she probably still battles stage fright, and I’m really amazed and proud that she signed up to do these two shows. After writing music so different from—and changing the sound of—the industry over the past 10 years+, it’s really cool to see her finally get her flowers as the headliner and do it in her own way. Maybe a massive arena-style stage isn’t the kindest venue for her talents and unique energy, but she did it in her own way, with heart and absolute style. I’m proud to be a fan and it’s not surprising to see these reviews (ahem, Guardian) revert to their 2014 tone.

since I’m literally just a girl (libra rising) who can’t decide for sh*t, and a swiftie since 2006, I’ll say some variation of: folklore, evermore, 1989, midnights, red 👀 but I think rep is the funnest live set! some top fave songs: - cardigan - mirrorball - gold rush - cowboy like me - would’ve could’ve should’ve - the archer - OOTW - cruel summer (rip to when this was an “underground” banger lmao)