wildheart

lol my lack of love for UV is legendary. i tried to re-listen to it before BB and I felt the urge to skip many songs. I can understand why ppl like it and maybe it’s an age thing (like I listened to UV for the first time in my mid twenties) bc it just didn’t resonate with me at all.

I don’t hate any of this per say but I don’t care for them at all. In my feelings Sad Girl Don’t Call Me Angel Freak Guns and Roses Breaking Up Slowly Summer Bummer Body Electric Shades of Cool For Free

Yep. i think UV, NFR! and BB have the perfect album covers as they encompass the feeling and vibe of the record.

Since we’re speaking about the motherhood themes in BB, I want to bring up the books Lana posted on her Instagram circa 2019 (nfr! era). The images were Women Who Run with the Wolves and Untie the Strong Woman by Clarissa Pinkola Estes. It’s curious that Women Who Run with The Wolves would become one of the central themes of COTCC, with the video for the title track clearly referencing it. And Untie the Strong Woman, a book about motherhood and the mother archetype would come to play in BB. I personally recommend both books extensively, but god HER MIND

You really don’t like being wild huh

I think I can appreciate it for Lana’s vocals and music but it’s just kinda there. Lyrics aren’t that interesting.

My updated list after a couple of days and many listens: Text book BBS Dealer Thunder WW IYLDWM Nectar of the Gods Living Legend Blue Banisters Violets for Roses Sweet Carolina Arcadia Beautiful Cherry Blossom Trio (hot take: I feel VFR, Beautiful and Cherry Blossom could have been album highlights under Jack’s production. The lyrics are there but the melody and production aren’t that interesting. They give me WAH and NATWAL energy.)

It’s a grower for sure. Grows more beautiful and poignant with time.

I think regardless if you find her writing compelling now or the BTD era, this is a huge level of vulnerability she is exploring with BB. You go from saying “I got a taste in men much older” in Paradise to “I guess you can call it text book, I was looking for the father I wanted back” in BB. From “my mother’s glamour” in UV to “my father would never step in when his wife would rage at me” and “I’m not friends with my mother” in BB. you might really find her dreamy musical landscape/persona from BTD/Paradise/UV more compelling but that’s all they were. Dreamy. They’re no less beautiful or complex, but they weren’t entirely real. Lana’s getting more raw and open in every record, and that is growth and not at all comfort imho.

I think some of the meltdowns in the previous pages have more to do with people realizing this is just Lana’s new sound. Jack wasn’t pushing this piano agenda, she wants piano. And while she is still definitely experimenting (dealer, bbs), she’s taken a turn out of the BTD and UV era, with a few homages sprinkled now and then. that Lana sound ain’t coming back and BB solidifies her decision to keep playing in the music sandbox of experimentation and complex, vulnerable writing.

!!! THIS !!! Heroin, Change, and Get Free were goodbyes to the previous era and hello to NFR, COTCC, and BB. I re-listened to the entirety of Lana’s discography before BB dropped and the story she’s telling is very cohesive. She’s having fun in BTD and Paradise, she gets dark in UV, she goes “deeper and deeper” in Honeymoon, she shifts dramatically in LFL, she lightens up and opens up in NFR!, she goes folk in COTCC, etc. All records lead to each other perfectly.

I agree. COTCC and BB are sisters. COTCC and NFR! are half-sisters. LFL and NFR! are cousins. Honeymoon is UV’s rich aunt.

this is nfr! erasure (but Honeymoon is top three)

again Text Book stans are elite

having taste is a rare thing nowadays