Jeanne Dielman

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. 

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. 

i mean she definitely has found her comfort zone but that doesn't mean she isn't experimenting new sounds and is uncapable of doing an entire album with no piano. COCC & BB both have new exciting moments that we never heard and i'm sure this album will too

This song is so much more than a piano ballad. It’s dynamic and climatic, there’s so many details like the strings and the choir. The song starting with that exhale set the tone, it’s just perfect. I think it’ll grow on anyone that doesn’t like it right now! 

the last minute of the song is absolutely surreal it makes me feel like I’m floating in space. Truly magical!!!

I would oddly be okay without a video for this era... I think because everything happened so fast & we have a date and the visuals are so exceptional (to me) so far... I can't picture a video doing justice for this song. its such a unique track to add to her discography 
 
but I am curious about where she was sitting in front of the "carwash" on the single picture ... maybe they shot some things in Long Beach tbd I guess

This song feels monumental, it’s going to go down as a classic. 
 
Also, I’m getting Lynchian vibes from the song — “It's because she's in a world, preserved, only a few have found the door. It's like Camarillo, only silver mirrors running down the corridor”  — I visualize an alternate Red Room from Twin Peaks with silver mirrors instead.
 
I’m just so thrilled, she totally blew me away. 
The album visuals remind me of Lynch too, and Warhol but maybe I’m going too far. IDC!

I think a pastor’s sermon on an album that got Tommy Genesis and a song called American Whore (or A&W whatever) is very camp

Okay I am fully claiming the vibe this album. Pastel vinyl colors, airy big hair vibes. I'm eating this up 

I just want the tracklist, where is the tracklist 

my stupid dumb bf hAtEs Lana's music, but even HE listened to it, willingly, I didn't even ask him to do it, before I even had heard the song myself!!! and even HE was mesmerized by the magical intro  and he ofc too giggled (and became stunned) at the "fuck me to death" line (sadly he didn't listen to the song in full but! baby steps right?) 

If you have apple music, set your crossfade time to 12 seconds. Then play Ocean Boulevard and queue up Don't Forget Me by Harry Nilsson directly after.

 

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. 

That fucking breath at the beginning, like just yes. It really sets the mood.

i think it was just a mistake tbh 
cuz u can only see those 4 songs on like two mock-ups on one specific site and it’s super LQ

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.

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. 

The single sounds very inspired to these ears! It has so much going on but it doesn’t ever sound overproduced. I love the palpable sense of urgency for something to survive you in the grander scheme of things. She must know by now her inimitable artistry won’t be forgotten so she speaks instead about a more general cosmic insignificance. It sounds like a truism but I do take it for granted how we have the brief honor of finding beauty in living/touching the souls of others from different walks of life. I’m totally on board with this era.