Sportscruiser

Fingertips and Kintsugi will be the most immediate answers but personally I sobbed on my first listen of

What is life but a constant alternation between pre and post releases

We went from “she’s not touring again” to a proper festival tour.

Does local time mean the album is being released at midnight in every country or is that global?

If she has another album ready I would rather have it at the end of the year to support this one like Paradise did back in the day for BTD. No need to cram two big releases in such a short period of time, in my opinion - specially since Ocean is so textured and dense.

That’s a sexy ranking.

I’ll do the exact same but I’m listening to everything from start to finish one last time before the end of the week. I’m currently on Miss Kintsugi.

1. NFR/Honeymoon 2. NFR/Honeymoon 3. Did You Know That There’s a Tunnel Under Ocean Blvd 4. Ultraviolence 5. Violet Bent Backwards Over The Grass 6. Chemtrails Over The Country Club 7. Lust For Life 8. Born To Die/Paradise 9. Blue Banisters What a discography.

Currently chilling in my living room to Judah Smith Interlude

Omg you’ve come around to the AOTY! Welcome

Who said he hasn’t already?

Lana’s album stands right in between the more digestible ones (Kali, Caroline, Kelela) and the more avant-garde (Yves Tumor) and that might hurt her. However, the fact that Pitchfork loved the singles and included them in their playlist does say something.

Jon Denton tearing up to The Grants confirmed the masterpiece status of this record

Yves Tumor actually deepthroated three of my right hand fingers during their crowdsurfing moment at Primavera 4 years ago. That was something I’ll never forget.

It’d be heartbreaking if Lana didn’t get at least a BNM staple from Pitchfork specially since they gave it recently to other artists I also love: Caroline Polachek, Kelela, Kali Uchis and Yves Tumor, to name a few.

Her most cohesive record (after HM) as far as sound goes. It’s incredibly special to me, like a good conversation with a close friend or a road-trip with your besties from the beach back to the city, as sunset is setting. Thank you for everything Chemtrails

Tearing up with Margaret, bye.

I’m screaming.

Beautiful.

I’m still intrigued by whomever publication that called Candy Necklace roadside glitch-pop. What was up with that?

Her label/team’s strategy plan will spend money and resources on basement listening events for UK critics but leave the oceanblvd instagram unattended and delay the album for 2 weeks despite her documented history with leaks… hopefully the US critics will see this record for what it is.

What other major publications besides Pitchfork still haven’t reviewed it?

That part of the Gigwise review that said some reviewers missed out entire tracks while going to the bathroom tells me everything we need to know about the integrity of music criticism. This isn’t an album that is easily digestible or catered to today’s frantic attention spans. It asks for time and open mindedness - which makes it the more rewarding the more time you spend with it. It’s also kind of boring to see so many users still acting like music is divided in either beat-driven bangers or boring piano ballads and nothing else in between. A track like Grandfather is nothing alike Sweet or Paris Texas (for instance), they represent different things, go for different sonic soundscapes and even have Lana delivering different vocal performances. It can be a different frustrating to see people reducing this album to this or that when chances are it’s far richer than whatever box you’re trying to put it in. Give it time to sink in and wash over you. There’s an entire universe in this record and it’s a fascinating one, whether it entirely works for you or not.

I adore Paris, Texas and I know it’ll hit you. Take a ride on a bike or a car trip and let it wash over you. My ranking at the moment (keep in mind it’s all very fluid):

Omg