Sportscruiser

The Tommy song hits after a while, production values aside. I also share a bit of your worries (Dance Till We Die should 1. have been the closer & 2. have exploded much more in terms of instrumentation) but the fact that both Kintsugi and BOZ confirmed this album is a wild ride with variety and something for everyone makes me think this is LFL 2.0 done by post-NFR Lana. There’ll be softer, subtle songs and more explosive ones I’m sure. Kintsugi alone said Candy Necklace is massive, Peppers will make us shake our asses, Taco Truck has an insane outro, etc etc while also alerting us there are songs like Sweet that are soft and, well, sweet! Also, didn’t BOZ say his favorite track was Grandfather even though he hated both COCC and BB for being boring? It must be an intense track as well. I don’t know, I’m pretty confident this one will aim for everything, cohesion be damned. This is truly what BB failed to be (confessional, intense, full of whiplash, stream of consciousness type shit).

Paris Texas and Grandfather also have no percussion.

I’m going to sleep in the meantime. Kintsugi… I hope you’re doing great out there, thank you for making this rollout experience so fun and special. Really appreciate it. Have fun, babes!

Ok @Kintsugi I swear on my brother’s life this is the last time I’m ever asking you questions (for this era, at least!) but I gotta try one last time: If you had to choose two Lana albums that joined together can come close to this album’s sonic identity, which ones would you choose? Because so far this is giving me Blue Banisters meets Honeymoon.

We knew something was up with the Honeymoon influences ever since she sang GKIT in that Italian church. Plus, that Honeymoon from hell caption… She’s even bringing back the saxs. We’re not fucking ready for this.

I have one last question that I’m itching to ask but I don’t wanna keep taunting Kintsugi lmao. ALSO, I NEED TO GO TO SLEEP.

@Kintsugi thank you for answering both of my questions. I’ll keep my promise and stop asking questions. Love you!

We know it’s the Love Song of the album as opposed to LTLI which we know nothing about

One more question and I’ll shut up for all eternity. We barely know anything about Let The Light In. Is there anything you’d like to share about it since it’s song we know the least about? Thank you in advance for everything you’ve been doing for us!

I haven’t been excited for a Lana project with this intensity since NFR. This is truly going to be another magnum opus won’t it.

Don’t take this the wrong way but where have you been?

I don’t give a damn, I’m claiming all of these songs. These credits are insane. @Kintsugi are we setting ourselves to disappointment or is this album as interesting and adventurous as it sounds? I don’t want another BUS moment (love that song, was just expecting a different use of the electric guitar).

Please let’s not manifest weekly snippets from the album. This is the first time we have a super secretive rollout since Honeymoon

Omg May 27th is literally my birthday

I’m torn between wanting to listen to a new song from the album and going fully thirsty on album day with no idea what to expect. A bit like edging.

banned for liking hold the girl

She just posted a video of the Neil Krug pics for the album artwork…

Kintsugi said the song she’s sampling is from 2015. She only released World Vision during that year and in that album only 2 songs were written by herself only: HD and Eden. If any other song from that project was the sample we would have more people credited for Peppers.

Being a runner-up to Elle is an honor! Thank you for everybody who voted for me!

It’s either Hate Demon or Eden; having listened to both, I’m rooting for Eden.

If her team is smart once and for all and submits her in Alternative instead of Pop. She doesn’t need a Grammy but if this album is well received, she could be nominated again for AOTY.

“Rockefeller, my umbrella” is so weird as a sentence

The more I think about this album, the more I think this is definitely an evolved Lust For Life. The amalgamation of different sonorities clashing together (trap returning + the singer songwriter universe she’s built since the latter half of LFL) is very LFL-esque except that album turned outwards with Lana finally breaking free of her own pain to look around her while OUTB seems to be looking inwards further into the deep corners of her psyche, past and heritage. Plus in the album alignment, it makes perfect sense: - BTD > Paradise > UV > HM > LFL - NFR > Violet > COCC > BB > DYKTTATUOB We’re getting a rawer LFL with existential angst, rage and liberation but also an incredibly exciting new chapter in the documentation of the Lana Del Rey universe