Jeanne Dielman

same! the acoustic guitars in the first half really remind me of kurt cobain's acoustic demos
 
 
 

And even if hope is stripped down it’s a masterpiece, so fuck these people. NFR is a timeless album, just like BTD is. 

I wonder if those are lyrics from different songs or full song titles that were at one point in the tracklist 
Like:
(Pearl) Watch Me
Ring a Bell
Psycho Lifeguard 
They all look like Lana titles to me but it would be weird to scrap them if at one point they were part of the album title 

Don't worry none of us do 

And y'all know what...
This album isnt even out yet but i willingly to believe that Pearl Watch Me on Ring A Bell Psycho Lifeguard is the Part II of this "Ocean Blvd" era, we'll have double album this year idc i choose to believe it 
 
But English is not my native language so i dont even understand wtf this album title means, like - her use of English is so weird here isnt it? 

We love
 

I feel like not enough people are talking ab the r*pe line and I honestly think she sang it quietly so she wouldn’t get shit on for it like she used to be for her bolder lyrics (like Ultraviolence for example.)
Like A&W is SO deep and greatly written it’s insane and I literally cannot turn it off.

For anyone who’s interested here’s a 37 minute video about A&W. 
 
 

which is fascinating because A&W feels SO visual to me... when i listen to it, i imagine dark, seedy settings, smoke, fog, streetlights, but it is generally a dark, almost maroon-type of red, it makes you think of somebody's very distant, past memories of being young, like i imagine a young girl in a dark room sitting close to a television screen when the second verse comes around, it's strange, liminal spaces, it's a slight, eerie chill when you're driving fast on the highway and watching all of the articifial lights zipping by, it's just such a great song oh my god

A&W and DYK are hotter sister's of BBS and IYLDWM. Don't get me wrong, all of them are hot but the newest one are just IT

I love the “I say I live in Rosemead, really I’m at the Ramada” line. As someone who grew up in LA, I don’t know too much about that area but I do know it’s a pretty suburban area similar to Arcadia, so I get the somewhat peaceful imagery from that. Then it’s juxtaposed with the Ramada mention, which is a cheap hotel chain. It does give me the vibe of her old Lizzy songs, being from *nowhere* but having these affairs with other people in cheap hotels while maintaining the image of someone living a simple suburban life. Idk what if that’s what I means but I just get that imagery everytime I listen to it. 

After listening to A&W over and over since it came out I still can't get over how dark this song is. It's truly chilling.
 
Also this puts the title track on a whole different perspective and really makes me understand what Lana meant when she said this album had no room for colour. It's VERY black, grey and white. 
 
As a long time fan (a decade...) it still feels unreal that we're getting closer and closer to her family/personal history this many years in. For God's sake, the intro to this album is titled "The Grants". And as someone said earlier in this thread, it feels like while Chemtrails was mostly leftovers tracks, the clear standout from that album "White Dress" is very much telling of this new direction in songwriting Lana had been tapping into. With Blue Banisters, I think she was just beggining to see the full potential of this new style and a lot of the new songs on that record seem superficial to me.  
 
Now, with this new album it really feels like we're going DEEP. And it's dark as hell, man.

your mom called I told her you’re fuckin’ up BIG time 

I'm most curious about the interlude tbh, like it's clearly going to give very camp/unhinged vibes, very different from Burnt Norton.  

So who else is excited for fingertips 

i haven't been very active in this thread, but i just wanted to express my thoughts on A&W, firstly, this song is most definitely already one of my favorite lana songs of all-time, it is INCREDIBLE, it is dark, complex, psychedelic, 5+ minutes long, abstract, yet specifically honest, it's insane, it's something we haven't heard yet from lana at all, there are so many things i love about it, it feels like every other past album, song, and period of lana's artistry has led up to this particular song/moment in her discography, we couldn't have this track without all of the others which came before it, A&W is very revealing, yet still keeps it abstract, and wondering more about her past and her history, that's what is amazing about lana is that we know so much about her, yet she is still so mysterious and elusive, there's so many questions you'll still have after listening to this track
if i'm correct, i believe the pitchfork review of this track described the second part of the song as a feeling of accepting yourself as an outcast, and i've been holding onto that, because this track is so eerie, it's not just a song detailing her frustrations and her troubles throughout her life, it feels dirty, there's a taboo undertone lingering in the energy of this song, there's a very subtle, yet palatable essence of horror and despair in this track which makes it so much more rich and more of an experience, i feel like i can relate to the grimy chaos in this track, but also the parts of this track that feel more careless and almost ironically enjoying and embracing the mess and the chaos, because if you've dealt with complicated, strange experiences, or are just a complicated, strange person, you probably feel like, or even know, that that will never change, so you just have to face the darkest parts of yourself, and try your best to view them as something that is beautiful, something that makes you who you are, and sometimes, that's how you survive

honestly my favorite part is the "okay" at 3:45 when the transition begins. It sounds like both "okay enough with the ramblings" and "okay here we go"

A&W just got the Best New Track from Pitchfork, the biggest streaming day on Spotify for her ever and a 94/100 score on AOTY (and there aren't many Lana fans on that site), but apparently it's us who's exaggerating just because this is "something new" for Lana, please.

"Jack bad" "jack good" okay moving on because nobody cares anymore!
 
We're getting the album in 36 days. Sweet has started to climb the ranks in my most anticipated tracks because of its placement between the two songs we have as of right now. I've also been thinking a lot about The Grants since we got A&W. I really feel so strongly about this album being a thematic journey that we get to go on with Lana and I'm so excited for it. 

First of all yall know im the main Jack hater here.. theres no comparision to cinnamid girl. This is actually his first song that doesnt sound either the same or boring. The production is good, not muffled, no cheap drums/beats, no jingle bells, theres not even a similar song in all of her discography

My extensive take for A&W.
 

I love all the little details in this song 

exactly
 
plus, one of the things I love about Lana’s more recent music is how unpolished/raw it can be (and still sound good). Studio chatter left in, sounds of drumsticks being put down, laughing, sneezing, vape puffs… it’s just fun. When it sounds this good and works this well, it doesn’t have to be super polished. All the background noise and sound in A&W is really enjoyable and intentional , if you ask me.

Lana's "Oh, my God" sounds so iconic. 

Does a song need to be technically perfect for me to think that it's perfect? 
 
 
Nobody's going to catch me overanalyzing every aspect of the song and trying to find things to complain about instead of idk appreciating music history being made