Sportscruiser

Love this album. I’m obsessed with Lightning… truly In Your Eyes’ little sis

Kim Petras hasn’t done anything remotely interesting since the Halloween EP. Catering to the masses is costing the edge she had. I really don’t like this song but Nicki did the best she could with it.

American Whore 1. Cartwheel 2. Mother 3. Come Into My Bedroom 4. American Whore 5. Teenage Diary of a Girl 6. Princess/Divisive 7. Fucked Up My Story 8. Sidepiece at 33 9. God’s a Charlatan (I don’t care if this is the official lyric or not, it eats) 10. Not About Someone To Love Me Anymore

Her debut album is strong enough to set her apart from most of debut only artists, I think.

Oh I’m very much aware of her activism and importance in the music industry but I still think making other people audition for you is a bit too much; I have a big problem with diva-ish celebrities not named Mariah Carey.

I love the lighting and the color palettes but the rest… Also, that interview makes Joan Baez look like a total asshole. Not her acting like she’s Simon Cowell and people have to audition for her

I’d argue Ocean contains more NFR melodies/samples (A&W circles back to NFR title track, Fingertips/Bartender, Let The Light In/Love Song, etc) and references (Sweet tracing back to The Greatest’s line of “doing nothing at all”, etc). Chemtrails and NFR have similar production values but their themes are inherently different: NFR has a more widespread, bird’s eye view of the world in which Lana is sometimes a mere spectator/narrator of everything around her (much like she was already being in the back half of LFL) while Chemtrails turns inward and leans heavily on the Midwest country-folk aesthetic and sonic sensibilities. NFR is grandiose and majestic while Chemtrails is shy, timid and more introspective. It’s too easy to dismiss the latter as a collection of B-sides when in reality there’s a clear purpose and thematic approach in Chemtrails that an album like, say, Blue Banisters doesn’t quite possess - that purpose is to me strong enough to distinguish itself from what she accomplished with NFR which is why it’s always been strange to me that so many fans insist on both sounding the same. I just for the life of me can’t see it. Its also diminishing of Chemtrails importance in her discography. Chemtrails traces the very first impulses in Lana’s of-late tendencies in delving deep into her past (White Dress alone is a testament to that) while also manifesting a very anti-fame/desire to escape everything mantra that NFR quite simply didn’t even touch. Regardless of when each track was recorded and/or written, both albums feel very distinct to me - as practically all Lana albums are in my opinion. Blue Banisters is my least favorite precisely because it’s the one Lana album that is decidedly more fragmented and unfocused, deliberately so. With Ocean she’s made it obvious that she wanted to touch every single one of her last eras as far as sonority goes which could make for an abrasive and chaotic experience but that ultimately succeeds because of the specific songwriting and lyrical concept.

This is abhorrent.

NFR is indie rock with surf rock elements here and there. It’s quite cohesive and sunny-sounding throughout. Chemtrails leans heavily on indie folk and its sonority suggests a more autumnal aesthetic. That the GP still manages to affirm these two albums sound the exact same is completely mind boggling to me. Their themes are different and the soundscapes diverge to different genres (although sharing similar sensibilities) but people took Jack Antonoff producing both albums and WAH sampling HTD and ran with it.

Oh Say Can You See

I love her to pieces but I just can’t force myself to believe she hasn’t heard at least Renaissance or some other mainstream popular releases. She’s been away from social media, not from the world.

I reeeeeally don’t wanna get my hopes up for the Grammys but A&W possibly being nominated is something I can see happening. AOTY nom not so much.

Her instagram feed is rancid and I’m not sure I like her work (from what I’ve seen online) but let’s hope. At the end of the day, Nadia Lee Cohen will remain undefeated as the best photographer who’s ever worked with Lana. I wish she did something with Petra Collins… Petra’s a huge fan of her.

Who’s the photographer?

No, it’s not. I wish people stopped discrediting the last 3 tracks as “bonus tracks”. Thematically they all make sense in the concept of the album of getting in and out of the tunnel. Taco Truck in particular is the epitome of that - Lana is repurposing the very song she always said it’s meant to listen to to vibe and drive to and putting at the end of an album where she distilled immense amounts of trauma; it makes perfect sense as the closer.