Jeanne Dielman

@Kintsugi We miss you baby.

The only NFR track that could be described as an "absolute fan favourite" is Venice Bitch. Didn't Kintsugi say that Track 16 is major and has an outro for the books? Perhaps the song closes with a psychedelic instrumental that features a sample from Venice Bitch?

Oh, sorry. It's the February 23 post with the "I just don't careeee" caption!

https://www.instagram.com/p/CaTNRUfp9tv7kKByRR3zcbeV8c8wUiUayumsKA0/ Perhaps this was yet another easter egg that we failed to notice. Kintsugi said that he was genuinely surprised when he heard the sample, so I guess it must be something really unexpected. It's either something from NFR/COCC - but would we be really shocked by a NFR/COCC sample? - or something unreleased with Lana as the sole writer.

4:10-8:39. Imagine Lana creating something similar to this...

BOZ recently dragged Erickson to filth for his production on Arcadia, so him stanning fingertips hard is the gag of the decade. Anyway, I am still trying to get used to that Grandpa deep frying title, lol.

Yeah. Until the release of the album in March, she'll probably have written half of LDR10. Anyway, if fingertips is as dense and wordy as Lana says and Erickson has somehow managed to make it work, then he should win every single Producer of the Year award next year. And given that both Kintsugi and BOZ love it, I guess the Erickson haters will be in shambles next March.

Oh, yikes. I guess this is the title then, lol. It's strange though. Track 12's title seems far longer on that blurry tracklist, and I doubt she's going to add "feat. Father John Misty" based on what BOZ said regarding the album's features yesterday.

I'm a little confused. BOZ said that he saw the (almost correct) title either on ATRL or Twitter a few days ago, not here. Did someone post it on ATRL, too? Because I can't find anything on Twitter at all. Also, isn't Track 12 the one with the long ass title? I mean, according to the blurry tracklist it should be. And isn't Track 11 supposedly the Father John Misty "collaboration" with the RIOPY sample? I thought that this was confirmed a couple of days ago. Anyway, as much as I love her long titles, the Grandfather one ain't it, sadly. Hopefully it'll work in context.

(Last comment on page 89!) https://atrl.net/forums/topic/422755-lana-del-rey-did-you-know-that-theres-a-tunnel-under-ocean-blvd/page/89/#comments

Cuntsugi told us that all of our attempts at deciphering the acronym have been fruitless, so someone who *does* know the title of the track must have posted it somewhere (probably on Twitter, given that BOZ probably searched for it and found it randomly a few days ago). Ladies, this is our Sherlock Holmes era. We have to investigate. Not surprised by the fact that BOZ adores Side C so much. And I'm so happy that he loves the instrumentation on both interludes. At this point, given how much he's warmed up to Track 5, I guess that the only track that he doesn't like is Track 13 (Bleachers collab). Anyway, BOZ said that we should press play on the album "with an open mind and without prejudice", and I think that this is the most crucial piece of info we have. Cuntsugi confirming that the album is singular, wild and experimental with a variety of very dark and very fragile songs is quite reassuring, too. This will be her most personal work to date, potentially her defining artistic statement, and I am here for it.

Track 12 is probably the one with the very long title (GPSOTSOMFWHDSF). There's an ocean/marine/sea reference + Lana allegedly confronts those who have criticised her + it's BOZ's favourite or second favourite (after A&W) track on the album and he considers it to be one of her very best in general. Track 8 is a real head-scratcher though. We know nothing about it except for the fact that Lana and Jack co-wrote it.

A few thoughts on the tea we received yesterday: First of all, I'm very excited about the "brain-frying" pastor interlude, lol. The eerie unsettling background music is giving LA Who Am I To Love You instrumentals, tbh. Lana giggling and whispering, while the pastor is screaming his lungs out is another bizarre and disturbing detail. And the interlude is placed right after three explicit tracks, with A&W apparently being very wild both sonically and lyrically. I mean, BOZ doesn't even skip it. I wonder if it unintentionally (?!) exposes the pastor's clownery. BOZ told us that Lana's looking for guidance, so the interlude being track 5 probably means that the pastor has failed her. I'm genuinely gagged by the fact that she kinda bookmarks Candy Necklace with two (?!) interludes, lol. It's such a strange decision, and I wonder why the interlude featuring Jon Batiste would be so controversial/difficult to listen to. Is it just an audio clip of the two of them having a random conversation? Because I'd be surprised if a track by Batiste would be sonically divisive, unless it's a bizarre and borderline unlistenable/potentially cacophonous jazzy outro to Candy Necklace. In a way, the interludes might help the tracks surrounding them (A&W, Candy Necklace, and Track 8) stand out even more - perhaps this is Lana's point. Or they somehow fit in narrative-wise. A&W will surely be a highlight in her discography according to all our info so far, and the Candy Necklace snippet sounds kinda eerie (and it's the only track that she actually teased, so it must quite important for Lana). Sweet being this album's Love song is exactly what I was hoping for, lol. I was scared that we'd get another Beautiful based on the writing credits! I am thrilled about the AK composition. He's so talented, and @Kintsugi implying that it'll be the Cinnamon Girl/Tulsa Jesus Freak-esque track of the album is very promising. I'm sure that Track 14 will be a moment. Very excited about Track 11, as well. BOZ mentioned multiple times that the FJM "collaboration" (well, apparently he's getting Snowonthebeach'd, lol) is a highlight and an amazing track, and it also features the RIOPY sample, so, yeah, this is going to be good. BOZ also hyped Track 10 (feat. SYML's composition), and Track 12 (the one with the long ass title) is supposedly BOZ's favourite (or second favourite after A&W) track on the album and one of her best tracks ever. And he also said that Fingertips is stunning...Well, Side C will be that bitch. Oh, and I knew that she'd deliver a fantastic closing song this time around. A "one for the books" 5:53 closer with an outstanding outro? Yes, ma'am! I don't know. This album sounds major.

Slay, miss Cuntsugi! I can't believe that tracks 5 and 7 are both interludes, LMAO.

Perhaps she drags Dua on the Bleachers track and this is why BOZ dislikes it?

The Grants, Track 10 and/or Track 11 - both have long ass titles, at least one of them should be over 5 minutes, now come on now - and/or Track 16 are my bets.

Sweet is giving orchestral sister of Cherry/White Mustang/Fuck it I love you/Love song/Tulsa Jesus Freak vibes, tbh. It'll probably be a (relatively) short track - definitely under 4 minutes, IMO - and will probably be overshadowed by the lengthier and wordier tracks of Side A, but Lana never puts a filler song near the top of the tracklist, so I think it's going to be nice (BOZ likes it so there's that).

RIOPY is a French-born and London-based British composer. I wonder if Rob's random travel to London last summer had something to do with the recording of Track 11.

He clarified that it's just his subjective take on it and that we might actually dig the track. If I remember correctly, he dislikes Bleachers and Antonoff's voice in general, lol! Don't forget that he absolutely hated Dealer and that one turned out to be the fan favourite track (and viral hit!) of Blue Banisters.

I don't think that BOZ meant that we won't be able to enjoy the tracks as standalone songs - I mean, he's already singled out A&W and the track with the long title as two of her greatest songs -, but that there is a certain thematic/narrative cohesiveness and/or sonic/lyrical progression that makes everything work a lot better in context.

Yes, BOZ said that, while the title track is a generally good representation of the (orchestral) sound and lyrical content of the album, Lana shouldn't have released any singles, because none of the tracks work as standalone singles. Apparently one should experience the entire album without having being "teased" by a track beforehand. I think that it's a very intriguing observation; I know that BOZ loves cohesive projects, so it's interesting that the album has been described as wild, chaotic, poetic/conversational/wordy and with a lot of sonic variety, but doesn't feel messy. It's the first time I've heard someone describe a Lana album that way - that it works better as an experience -, so I'm very very excited about it.

When the pastor interlude gets more daily streams than the entirety of Miley's album, then what?

TWBTKYN. Tracks 11 and 12 seem to have the longest titles on the album, so I guess track 11 must be TWBTKYN and track 12 must be GPSOTSOMFWHDF.