yourolllikethunder

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)

this is my fave single so far I think! the chorus is so catchy, the club renaissance is really back huh — feels like it would fit nicely on a playlist next to madison beer’s “make you mine”

thank you so much!!

I *promise* I’ll stfu about this now but Atwood Magazine, which I’ve loved forever, somehow heard my new song & interviewed me, and it just went up today, alongside their interviews with Declan McKenna, X Ambassadors, and The Staves like wtf!!!! screaming and crying and have no friends who understand how lakdlaskksakjsnakka this is — anyone who clicks it to drive it up on their website, I’ll give you a hug !! INNER WORLDS & JOHN HUGHES MOVIES: HEDDY EDWARDS WANTS TO SHOW YOU HER TEENAGE BEDROOM https://atwoodmagazine.com/hebt-heddy-edwards-music-interview-2024/

ahhh thank you! looking now!!!

it looks so much better in photos than it did on the website & that’s on me not having faith it would give

SO JEALOUS OF EVERYONE WHO GETS TO GO TO THIS, I can’t wait to live vicariously through your photos (please share them 🥲)

so happy we can livestream her set

chorliiiii baybeeee she doesn’t miss. von dutch was on repeat & now these are can’t wait for brat

my mental health was so bad in 2023 I only recently returned to most of the internet perched for lasso, babes

counting the days, why is september so far away !!! I hope lasso either for sure releases in september or even earlier

Hi friends, I released my fourth song today, called “black tunnel.” It’s my ode to 90s alternative with a shoegaze-inspired chorus. I’d be honored if anyone wants to give it a listen or save: https://heddy.lnk.to/blacktunnel It’s about how my mental health often causes me to isolate myself and lose touch with people, only to see them again in the grocery store or in my dreams. I am a published poet and I took my pen game really seriously and I’m so proud of how it turned out. The more personal story behind it, for anyone bored and reading this, is that I had a group of friends in high school who basically kept me around to make fun of me. I was a mega-square because my extended family experience addiction and I wanted zero chance at that kind of life, and people could be mean about that. I adopted ann ego complex I used as a shield to feel better than the people who hurt me, or important somehow. But after we lost touch, I realized I had been the punchline and that it wasn’t my fault for losing touch, because they never had my best interest at heart. The verses are the longing, regret, and isolation, and the chorus is that latent anger… here’s the lyrics: There’s a crystal ball inside the walls It tells me what to do I see the signs, divine the cards Still can’t follow through And you ask me how I’ve been A crown of thorns, sad coronation Maybe I’ll tell you sometime Look out for the invitation Black tunnel, I spin alone, alone No one shows to the party I catch the light, I treat you right Still I’m barely a memory Stick that needle in my eye Oh I tried, I tried, I tried, I tried You can tell it straight to your mother I died, I died, I died, I died Sometimes what it comes down to Is you can’t shake me, I can’t shake the blues My golden dreams, vanilla cream Are streaming through the stereo If only I could swim right through that astral plane out the window And I ask you how you’ve been A toothy grin, a sore performance Maybe I’ll see you again In shopping aisles or in the dreamcast Black tunnel, I pray alone, alone On my knees, superstition Please catch the light, treat me right Signed your vague apparition Stick that needle in my eye Oh I tried, I tried, I tried, I tried You can tell it straight to your mother I died, I died, I died, I died Sometimes what it comes down to Is you can’t shake me, I can’t shake the blues Spill this vaulted heart Full of talismans and reminiscence I’ll stay wild of mind Abstemious, reading Dionysus Stick that needle in my eye You can tell it straight to your mother Sometimes what it comes down to Is you can’t shake me, I can’t shake the blues