Sportscruiser

Absolutely obsessed with this. Takes me back to the type of music I was consuming like crazy from 2015 to 2017. What a bop.

What a basic ass song.

Wait, I love this. I’ve always looked at Chemtrails - Blue Banisters - Ocean Boulevard as the trio of albums that are a slow progression from outwards (NFR) to more and more inwards with each album, with OB being her first album post the claustrophobic feeling of the pandemic (hence why it probably opens and widens open from Paris Texas forward). Now with new landscapes, new experiences, close personal encounters with fans, etc will probably inspire her in different ways. And you’re totally right, last time she toured we went from LFL to NFR. She could go to different directions.

Zodiac, Black Bathing Suit, Grandfather

This thread is iconic already.

Chill don’t get mad at me bestie. Translation: thou shall not becometh aggravatedth with me, ol’ friend.

Guys remember she “recently” recorded Zodiac and that song sounds like an Ultraviolence and Blue Banisters sinister baby… she still has that aggression in her.

Not this 💀 why do older people always act like this, it’s not my fault y’all were born when cars were invented, like…

I think it works on NFR because her voice is very crystal clear on that record and that was refreshing after so many albums of the production being as intense as her vocals (sometimes even more). But I meant it even in terms of instrumentation! Grandfather, a top 2 track on OB for me, had no business having that saxophone in the outro being so drenched and muffled - it kinda does a tiny little disservice to a song that’s otherwise so intense and epic-feeling really.

Fingertips is definitely a top 4 track from the album and one of the greatest things she’s ever done lyrically. None of her contemporaries is doing that. I know that it’s a ballad but the absence of a defined structure, the orchestral work with intention behind every swing, the overall unbearable and uncomfortable intimacy of it all… it’s definitely challenging and profound work that must not be mistaken as a simple ballad I generally admire Jack as a producer but some of his techniques are getting kind of stale at this point. He muffles everything and uses the same drum machine patterns - I wish he could switch it up but our mother loves it so there’s that.

I’d love for her to explore this sonority:

Honestly, seeing that Lorde decided to switch gears and work with my baby Blood Orange/Devonté Hynes makes me a tiny little bit sad that Lana doesn’t have that impulse of changing drastically between albums in terms of the producers she wants to work with anymore. She doesn’t need to because she’s done it plenty of times throughout her career but I’d love to seeing happening again, at least once. I’ll always fantasize about Lana working with, I don’t know, someone like Noah Goldstein or some crazy left field choice that no one sees coming. But on the other hand her and Jack have always made beautiful music. NFR and Chemtrails have very specific soundscapes that were clearly influential to A LOT of people from Taylor to Clairo to Lorde, etc etc. And personally speaking I usually feel drawn to the music Lana and Jack do together even in an album like OB that has more than just one producer so I don’t necessarily complain about them working again… I just think Jack, while clearly very talented and an innate multitasker, will not be able to tread new grounds with Lana unless she doesn’t ask for it. As long as she wants to keep making music in the vein of the Jonis and the Carole Kings of the world, Jack is her go-to. It is what it is, I guess?

That was hot, keep going.

Manifesting Valley of The Dolls as the next opener

That’s a troll, right? They can’t possibly be for real.

Beautiful post!

I want a full album with saxophones in every fucking song

Absolutely. Anything other than selling out for some radio hit that Lana never chased to begin with. If she wanted to be a pop girl, she would be one with ease. She’s more concerned with laying the groundwork for a legacy big enough to inspire her contemporaries and future generations to come.

I’ve wondered lately if she’s ever going back to that earthy bluesy sound of Text Book and Black Bathing Suit. Those songs have such a dark, ominous production to them.

I’m actually tired of seeing you on my notifications so if you could stop mentioning or quoting me from now on that would be great. Jesus.

Expecting or forcing a radio hit out of someone like Lana, 9 albums and 12 years into a long-spanning career with a rich and diverse catalogue when she’s made clear time and time again she doesn’t want to be mainstream or popular is just unrealistic. But I love the songs you mentioned!

I’m not whining, I’m expressing a personal opinion. Don’t be disrespectful.

Seriously LOL. What was that about?

Where did you come from? I don’t even read your posts.

Personally speaking (and I say this respectfully) I get kinda bored reading the same comments about wanting Lana to get back to doing “bops” (which I don’t really understand as she’s rarely ever done them in a conventional way) specially because it can become tiresome and superficial once you see those opinions spread across many threads. However I understand that to each their own but… What I miss from Lana is the cohesion of something like Honeymoon, still her best produced album to date that included a crazy variety of instrumentation that all fit together in unison to serve her vision of how she wanted the album to feel and sound like. It also operated in a soundscape that to this day is still very hard for me to define: is it jazz? is it “muddy trap” like she described it at the time? is it bluesy? is it all of the above? I feel like with Honeymoon she took such a risk by incorporating all these different genres into one piece that sounds both so modern and so timeless and evocative at once. A lot of people say going from BTD to UV was really bold (which I 100% agree with) but going from UV to HM was just as ambitious and dare I say the moment where she proved to me - without any shred of doubt - that she could do it all. I miss that feeling of unpredictability and atmosphere she created with her albums up until NFR (that one included, as I feel NFR is far more cohesive and coherent than some people give it credit for). I miss the surprise, the early shock, the “how the hell is she going to pull this off?”. To hell with bops and radio hits (that a Lana fan even verbalizes this 12 years into her career is absurd). Give me a record that’s so mysterious, intricate and so seemingly distant from my own comfort zone that it forces to peel back its layers for years to come in order for me to realize it’s always been as close to my heart and my experiences as humanly possible. I adore OB to death (my third favorite album from her) but I really do miss feeling the production and instrumentation making the stakes feel higher and bolder.