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takemetothegasstation

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About takemetothegasstation

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  1. having a third eye opening moment about the K figure in Lana's music. he's everywhere in her storytelling. that's so scary and so beautiful. 'Cause there's a man that's in my past, there's a man that's still right here He's real enough to touch and in my darkest nights He's shinin' Young love don't always last forever Wild horses can't keep us together So what if you taste just like heaven That don't make it right how long and how often has lana been singing about the same man?
  2. Lana is such a good singer/songwriter I feel if she did a Nikki collab album and actually marketed it as country music she could find an entirely new audience.
  3. woah that song is awesome. breaking up slowly fans winning always.
  4. lmao lana is such a meme. literally still one of the biggest artists in the world and she spends her days being backup for a minor country singer -- legend behavior
  5. Interesting quote from a very early interview about this album: That's a great way to describe Lana's early B2D stuff. Does anybody have any interviews from August 2011 or earlier?
  6. this song is AMAZING. every time I listen to it with good headphones I transcend reality
  7. I'm still so amazed that when she first came on the scene everybody thought she was a faker and an industry plant. The woman is the very definition of an anti-pop star.
  8. You're probably right. I was just thinking about how Lana doesn't always complete sentences in her lyric writing. Stupid boyfriend and Kevin could be two different people, and since the name drop feels so jarring, and the name starts with K, it just struck me as a possibility. Anyway, carry on!
  9. Has anyone else speculated that the Kevin of "Fuck you Kevin" might be the same person as the title of For K and For K, Part 2 aka the death row convict of Kill Kill, Blue Jeans, and Dark Paradise and the "all my songs are really about the same guy" and the "man that's in my past". Like the mystery man present in all her most fucked up songs?
  10. To me, this album is really about how far Lana has come emotionally. "Nectar of the Gods" I believe is the oldest song on the album, and really represents what a disturbed writer she was in the few years before her fame. Heroin gold in my veins and you in my thoughts I'm on the freeway racing at a million and I just can’t stop ... I get wild on you, baby I get wild and fuckin' crazy like you never knew That's the emotional state of somebody severely disturbed, writing in that eerily powerful, disturbingly catchy style familiar to fans of Born to Die. Remember, Lana said "I guess you could say this album is about what it was like, what happened, and what it’s like now". If we imagine that we've never heard the unreleased songs, she is literally taking us on a journey through her past into the present. Now she writes: The power of us three can bring absolutely anything Except that one thing, the diamonds, the rust, and the rain The thing that washes away the pain and So don't write me a letter I'll always be right here Closer to you than your next breath, my dear A completely new headspace, one enormously evolved and equally artistic. Undeniably the voice behind "Push Me Down" and "Yayo" is more compelling in its darkness, but clearly Lana is better off these days. In the glory of the album, "Wildflower Wildfire", she acknowledges the power of her fiery past, lurking just beneath the surface: I promise that nothing will burn you Nothing will burn, burn, burn, burn Like the others baby She has to learn not turn into a wildfire. It's amazing just how artistically Lana always professes herself and nobody else. She is fire and air, and takes up all space available. I look forward to further outbursts in the future, which seem to be imminent. But this was yet another major album by our greatest living music artist.
  11. I think it's highly likely we get two albums this year and absolutely nothing else.
  12. Hoping her new sound is in line with Black Bathing Suit and Wildflower Wildfire. I want upsetting c h a o s.
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