Sportscruiser

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.

All of the above are 10/10 and included in my top 20 lol. I swear I’m not being a blind Lana stan, I just love those songs lol. Mine are constantly interchangeable but gun to my head: Art Deco A&W Norman Fucking Rockwell

Portugal lost again.

How do we explain Peppers?

The Love Witch, Paris Texas, Valley of The Dolls, most of John Waters oeuvre, any David Lynch film (literally) and apparently Carlito’s Way (lol) immediately come to mind.

who are you

Seriously. Everything.

Oh I agree. Her Bad Liar - Fetish run was immaculate. I don’t see how Addison is more talented than her, what did I miss? 😭

I think it tracks. Lana not caring about what other people think of her and stop trying to do what’s expected of her has always been on brand. The fandom’s fixation with those covers is confounding. Most musicians she stans don’t care about shit like that.

I need help stanning her. Why are we losing our minds over 2016/2017 tropical pop music that Selena Gomez used to make?

Yall’s obsessions with visuals… insanity.

You see lazy, I see a deliberate attempt at not conforming with the status quo. Context is everything and in this situation, Lana was facing serious criticism in regards to her physical appearance and weight gain: from media outlets to even Azealia Banks, there were a lot of people mocking and scrutinizing her body and I see those 3 covers as representation of “I don’t give a fuck about whether you find this beautiful or not, these songs are incredibly personal and encompass a lot of raw, ugly truths and I don’t want the covers to be polished”.

This is exactly why I’ve been less and less present in these forums (until LDRX starts to take shape). It’s kind of exhausting to keep reading the same recycled “ugh this is boring”, “ugh I wish she could go back to doing bangers”, “ugh not another piano ballad” comments over and over again without any depth to them. With that being said, I respect this song a lot and I love the lyricism as per usual but I don’t think it all gels for me, sometimes it sounds like they’re in two different songs entirely.

I’m in the dark on what the sound is gonna be like… but since it’s the closer and it’s Lana… probably a ballad?

Anything by Jeff Buckley would be legendary and reality-changing.

Just because y’all find it fun, it doesn’t mean everybody has to wtf. Rancid, indeed.

Lorde is a studio artist, not a live one. Always felt her voice ranged between decent and awful in her live shows. It’s not something that’s brand new. Still love her to death. She’s working with Blood Orange for this new record. Whatever’s coming will be legendary.

It’s so derivative. Tinges of Avril Lavigne, Paramore, Lorde and Taylor and barely a nothing remotely original or personal there besides the childish lyrics. That people and critics are bending over this is mind boggling to me.

Brutal 2.0 but much more annoying. I truly still don’t understand her supposed appeal. And this new music? It’s like she’s releasing Sour’s B-side.

I still have no idea where she got that from…

1. Norman Fucking Rockwell/Honeymoon 2. Honeymoon/Norman Fucking Rockwell 3. Did You Know There’s a Tunnel Under Ocean Blvd 4. Ultraviolence 5. Chemtrails Over The Country Club 6. Lust For Life 7. Paradise 8. Blue Banisters 9. Born To Die

Sour 2.0. Still writes like Taylor Swift, still tries to emulate Lorde with the use of back up vocals, still tries to give it an Avril Lavigne meets Paramore rock twists to the vocal inflections. The most derivative girl in pop music right now.

I don’t know what that says about me but Fingertips is perhaps one of the tracks I listen to the most. There’s just something unbelievably magical about driving or riding a bike listening to that song - it’s like a portal to a different dimension. It’s heavy and incredibly Mark Kozelek-like in its diaristic style which may not be the most replayable thing ever but the sheer imagery of both her vivid memories and of her wandering through a hazy, foggy forest contemplating about her past is just earth-shattering. It’s quite frankly one of the best things she’s ever done, in my opinion.

The Jon Batiste Interlude - Let The Light In run is one of the best things ever created in the medium of music