Jeanne Dielman

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! 
 
 
 

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. 

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. 

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. 

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. 

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. 

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

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. 

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. 

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. 

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. 

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. 

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. 

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. 

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. 

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.