Jeanne Dielman

A&W or fingertips. But it could also be Track 16 (I have a feeling it might be the "magic moment" track Antonoff referred to in April). Anyway, I'm so glad that we're getting many (very!) long songs with this album. All her long(-ish) tracks are amazing. By the way, did you know that there's a tunnel under Ocean Blvd did 2,249,393 streams (unfiltered) on Spotify yesterday. I think it might have topped NFR (title track) in terms of total streams after all?!

A slim one, depending on how the song will perform this weekend. Its streams will inevitably drop tomorrow (it always happens in the weekends + SZA is going to dominate the charts), but hopefully not too much. It'll be a sign of great stability if it does 1,500,000 streams on Friday! Anyway, stream the track darlings.

The performance of Lana's latest singles on Spotify: Let Me Love You Like A Woman Day 1: 1,654,620 Day 2: 859,885 Day 3: 598,289 Day 4: 610,229 TOTAL = 3,727,023 Chemtrails Over The Country Club Day 1: 668,820 (partial) Day 2: 1,693,873 Day 3: 1,202,610 Day 4: 971,876 TOTAL = 4,537,179 Arcadia Day 1: 427,088 (partial) Day 2: 866,277 Day 3: 835,218 Day 4: 530,608 TOTAL = 2,659,191 Did you know that there's a tunnel under Ocean Blvd Day 1: 1,355,631 (partial) Day 2: 2,008,742 Lol, this is kind of insane. A surprise drop + no social media to promote + no MV. If this keeps performing well this weekend, it could crack BB Hot 100.

Confirmed playlists on Spotify USA so far: Chill Pop - #1 New Music Friday - #4 All New Indie - #4 Teen Beats - #5 Fresh & Chill - #7 Hot Hits USA - #8 Pop Rising - #12

We don't know the lengths, but BOZ said on Twitter that many songs on the album are very long and structurally unconventional!

I just bought all the vinyl variants (along with the CD). I've never done this before, lol, but I couldn't resist. The artwork is fantastic.

Yikes. I wonder how many times he's condemned Lana for living with her random boyfriends btw.

Going from an allegedly wild track named American Whore to an interlude that includes her pastor's speech to potentially gospel/jazz-influenced tracks co-written by Jon Batiste will certainly be a ride, lol. I hope that the interlude will be in the vein of Violet and the pastor's speech is something strictly philosophical/spiritual. I doubt the Genesis track will be an interlude though. Hermosa is also credited as a co-writer, and Lana said that the Hermosa tracks were the first ones she worked on for this record. I think that the other interlude will be track 10 (SYML) or 11 (RIOPY).

Exactly. Also, Watercolor Eyes had a full first day of tracking, while only 8 hours were counted for Ocean Blvd. I hope that the song will be added on several playlists on Spotify and the gays on TikTok make it go viral, because the potential is there.

I found Arcadia's Spotify streams: And DYKTATUOB's partial total: 1,355,631 streams.

He also said that she should have named the album The Grants, so I suppose it should be a really special opener.

Many of the new songs are very long AND unconventional? Anyway, it's interesting that Lana only mentioned FJM singing with her on the album. I wonder if Batiste, Tommy, and The Bleachers only serve background vocals or perhaps they only have writing credits and she decided to give them the "feature" treatment (see SYML).

He said that it’s « fucking wild » and the sounds they came up with are « unprecedented » compared to their previous work together. It could be a disaster, but it certainly sounds interesting.

People clutching their pearls and jumping into conclusions about the overall sound and direction of LDR9 despite the fact that BOZ said that the album is «so wild that he couldn’t believe that he loved it that much» and that it has a lot of variety and lush instrumentation is just sending me. Not to mention that she’s working with several new people on this record (Batiste, Genesis, etc.). It’s pretty obvious that she’s currently fond of a more mellow/grounded/subtle sound and focuses on her conversational/free-flowing poetic lyricism, but there is space for sonic experimentation - see BOZ’s description of A&W - and vocal as well (White Dress on COCC; Sweet Carolina and Arcadia on BB). I happen to be a fan of her latest records, probably because I prefer my music sparser. Hopefully this new body of work is cohesive and showcases artistic growth. Pitchfork’s review was to-the-point: the title track is an admittedly dreamier and more lush version of her latest style, sure, but it also reveals little details in its sonic direction and influences - the sigh of relief; the celebratory choir; the tiny mumbling; the buildup; the crescendo of warmth -, as well as in its lyrics - the writing is far more layered and, dare I say, contradictory than expected: it’s both nostalgic and mournful; its deceptively straightforward metaphors about the fleetingness of life, forgotten spaces and blurry memories are quite devastating, because they can be interpreted in different ways, and I suppose they will be further illuminated by the overall concept and direction of the album. I don’t know, I’m quite optimistic about the final result. But I’ll reserve my judgment until I get to listen to the entire record.

I think it's going to be very dreamy and breezy! Erickson is credited, so I suppose it should resemble the soundscape of the title track (orchestras etc.). The title is way too simple for Lana *cough* Beautiful *cough* so that's a bit of a red flag, lol, but she never puts "fillers" at the top of her tracklists, so I'm being cautiously optimistic. The Grants and A&W are clearly the more fascinating titles here. What could the former sound like? Is it a continuation of Sweet Carolina or Blue Banisters (title track)? Lana always introduces us to the overall sound and "feel" of her albums with the opening song, so I think it'll be quite special. Perhaps one of the most conversational/confessional tracks on the record, delving deeper into her karmic lineage? I'm getting Honeymoon meets Text Book and Wildflower Wildfire vibes from it; that sigh of relief at the beginning of the title track could be an indication. A&W on the other hand sounds absolutely wild and the fact that BOZ said that it might be his favourite track on the album + Antonoff saying that it's his best work with Lana have left me gagging. It should be an eclectic and experimental ride! But I do think that fingertips remains the most intriguing title out of all the confirmed songs. The way she described it in her little letter made it sound like an absolute tour-de-force of automatic writing, and I'm very curious to hear what it sounds like.

Lana simply drinking A&W Root Beer while recording the song, realizing that A&W are the initials of American Whore and then deciding to troll us. She's random like that. I wonder if Antonoff's "@hollywood from hell" caption is related to this song btw. Anyway, I have a feeling that the closer could be the "magical moment" song that they wrote back in April. It could be the one with the long ass title as well (similar to HIADT). I kinda hope that The Bleachers' contribution will be similar to SYML's (just a sample) or the pastor's (background Antonoff vocals or something, lol). Keep Father John Misty, Tommy Genesis and Jon Batiste on a verse or something though!

The girls and gays of TikTok should make the "fuck me to death" line go viral.

A&W is American Whore?! The gag when the final word on the track will be "whore" and then we get the pastor's sermon on track 5. God, we need more info. Someone should ask BOZ if there are any 5-minute+ songs on the album. Or even a song close to Venice Bitch's 9-minute length.

BOZ saying that she should have titled the album The Grants and that she should make an album trailer with that track playing probably means that the it is going to be the serve of the millennium. I'm getting Honeymoon or White Dress: the orchestral version vibes from it.

Fingertips must be Track 9. I have a feeling that this one is going to be one of the most important and difficult/demanding songs on the album. Ed's description of the album is fantastic. A game-changer with several musical surprises? Absolutely yes! And BOZ saying that "maaaaaybe" the title track cracks his top 5 tracks of this album is certainly promising, because there are at least 4 other tracks which he finds even better than this. I still hate the generic Sweet title, lol, but mama always puts great songs at #3 on her albums, so I'm being hopeful. I wonder if most of her features - except for FJM and maybe Tommy - are just samples/smaller contributions like SYML's.

Track 5 screams interlude to me. The pastor will probably give a speech in the background, Antonoff will put some ambient Violet-esque instrumentation, and Lana will sing a poem, as we move from the first segment of the album (tracks 1-4) to the middle segment with Batiste and the gospel/jazz realness. The Grants is an intriguing title. And it's the opening track. I absolutely hate Sweet; it brings Beautiful to mind (and it's an Erickson track, no less lol). A&W is interesting as well. I think it's the name of a restaurant.

lmao I think that "pastor" was code for Father John Misty. I cannot believe that we're getting 16 new tracks. And she wrote them all in less than a year. And there's rich and grand instrumentation, but variety as well. And it's a top 3 album according to BOZ. She's amazing.

Okay, so he confirmed that the alleged B&W cover with the yellow text and the movie poster-like credits is the real one.

BOZ just posted this on ATRL. Should we be scared?