Jeanne Dielman

Yes the biggest collaborations  & songs with the most radio play and play listing with the same rules couldn’t do it. You guys did it AFTER the rule change! An alt song. No sexual visuals. An alty alt song.😊
 I thought it would be top15. Label said top5. #dowehaveatunnelunderoceanblvd
 🙏🏻🍾🦄 

For the streaming girls 
 
 
Edit: i’m late 
 

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

this is with only half a day of tracking!
i think 8 or 12 hours

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

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

I’m really not sure why but I kinda feel like The Grants is gonna give Summertime The Gershwin Version. and i hate that song 😭 the title is giving me that for some reason!
 
BOZ said that the song should’ve been used in an album trailer though so it’s probably really cinematic

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). 

which one of you gays did this  I love it because Long Beach isn’t even in LA 

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). 

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). 

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). 

I wonder if the lyrics we got were from fingertips and she changed the opener to The Grants or if it was from The Grants the whole time.
The lyrics about "get your attention for a minute or two" make a lot of sense for an opener 

american whore is going to be the anthem but also I'm very intrigued about fingertips and and the way she described it on insta

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). 

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). 

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). 

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). 

BOZ using the word ‘chaotic’ as one of the descriptions for this album has me hyped. i hope she gets weird

That’s what I love most about her, she is always trying to grow FOR HERSELF. It’s not about “reinvention” (an arbitrary and selfish demand the media places on artists so therefore the GP does too). Lana’s writing is the North Star of her art—it’s no longer the grand sound her label pushed for, it’s her imagery, her iconography, the geography, and her life story—which was all on even BTD, hidden underneath expensive and precise production. I think what she thinks about most is how she can evolve as a writer, which is a personal decision that often has nothing to do with a pre-set sound or even aesthetic. She’s made it clear she always follows her muse—the genuine inspiration that comes to her while she’s driving or drinking her coffee, or at some gardening store (God knows where)! That is such a gift and she always honors it and follows it.
 
I think a lot about the Interview Magazine interview where she said she knows where she needs to go as a writer, but it’s going to take a lot of work and isolation, maybe even classes. Who else out there is even talking about that?
 
She’s just on another plane to me, and it’s truly inspiring. For her to wade into AUTOMATIC SINGING (?!) and trust in herself enough to put those works on the album show a genuineness, vulnerability—even an imperfectness to her art (first takes, voice memos, voice breaks, etc.) that is extremely rare in manufactured music these days. Yet she still holds acclaim as one of the greatest artists of our generation. Literally her raw cuts and demos could outperform full studio records from most of the biggest artists today.

She’s in a league of her own!!!

246.3K scrobbles on Last.FM!!!

"As her career goes Lana challenges herself as a songwriter more and that requires listener to adjust. Many of the new songs are gonna be very long, not bound to conventional structure, centered around lyricism, raw poetry. It takes letting go old Lana style to appreciate new one." - BoZ
 
VERY LONG SONGS? UNCONVENTIONAL STRUCTURES? 
 
Oh I WON and so many people on here are about to lose.

I sat at my keyboard for ten minutes last night trying to find a way to put how I felt about the song. But couldnt put it into words
You hit the nail on the head. Thank you

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. 

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.