Jeanne Dielman

@lustforlife i know everyone is piling on w questions rn BUT can u tell us anything about violets for roses?

We know so very little about the middle section... The fact that even insiders are refusing to be too explicit about what they share on that part of album is very telling. We might be in for a treat 

SURF ROCK?
 
LIZZY STANS WON!

SURF ROCK INFLUENCES 

beautiful is a ballad with rock surf influences 
bbs is intersting... a surprise 

Why does her voice keep getting better and better with every release? I remember thinking that she sounded amazing on LFL, but then she topped it with NFR, then with COCC and now with BB 
 
maybe it‘s the vaping

@lustforlife is there anything you could share about beautiful? 

Sorry to be bothering you with questions yet again @lustforlife... I'm sure you're getting a lot of these and I apologize in advance to add even more pressure to the mix.
 
But I just can't stop thinking about Black Bathing Suit. What can you tell us about it? I'll settle for anything you might wanna share!
 
And btw thank you so much for the info you've been spilling. Something about the way you word it makes it feel more intimate and tender.

I've been trying to decipher how Lana is going to tell her story and this is what I came up with:
 
Text Book, Blue Banisters and Arcadia operate as a form of introduction - a prologue to the story Lana wants to share with us. Text Book is not an accessible or particularly "welcoming" opener - it's lyrically dense and complex, and the overall mood it evokes is quite cerebral. The opening line is perfect: this is really her story and she (finally) feels strong enough to tell it. The closing line implies repetition; a dead end. Blue Banisters is about healing and memories. The ghost of a lover still haunts her because the pain he inflicted on her remains unbearable. But she finds comfort in the company of her family and friends who try to heal her wounds even though they probably fail. But they're always there for her. They "fly to her to paint, paint...". There's something hopeful in the song, but Lana has to live with this pain - it'll never go away. Arcadia is one of her most lyrically subversive songs. What seems like a cheeky allegory and an apparent love letter to California becomes a slyly scathing critique against America and the criticism she's received throughout the years. In a way, these three tracks seem to define her current state of mind: the disappointments of love; the unfair criticism; the search for a safe haven - both literally and figuratively - in the world. 
 
@Thunder made some great points about the three-act structure of the album. Dealer is one of Lana's angriest and rawest songs. Thunder is both celebratory and a portrayal of (emotional) stagnancy. Wildflower Wildfire has some of the darkest and most confessional words Lana has ever written, but she finally finds hope. "It's you from whom I learn." This seems to be another critical transitional moment in the album - we finally dive into old UV outtakes. What is their purpose in the narrative? There is a lot of nostalgia in these songs, particularly Nectar of the Gods which ends with Lana feeling lost again. Living Legend and especially Cherry Blossom are sweeter, warmer songs. The fact that the final track, Sweet Carolina, is co-written by the father she "wanted back" (and finally found him) and her sister is very important. I think this will be a very emotional and highly personal ballad. Perhaps nothing has really changed in Lana's life. As Blue Banisters says, this "hole"/pain hasn't been healed and probably never will be. But she's found the support she needs - her father, her siblings, her best friends, her fans, her own self. These are her banisters.
 
So what should we expect from those mysterious tracks in the middle of the album? Black Bathing Suit, Beautiful, Violets for Roses, If You Lie Down With Me...these are very beautiful (pun intended!) and romantic or even sultry/inviting titles. But would such a direction make sense sonically and lyrically? How do we end up with the anger in tracks 9-11? Are these songs about her past? Could the titles be misleading? Is she going to go from something potentially sexy (Black Bathing Suit/If You Lie Down With Me) and pure (Beautiful/Violets for Roses) to something as lyrically dark and angry as Dealer? Could these tracks hold the key to fully understanding Lana's intentions? The fact that insiders avoid talking about these - sure, they want to leave us something to be excited about lol! - makes me think that they may be quite revealing and intense. 

I've been trying to decipher how Lana is going to tell her story and this is what I came up with:
 
Text Book, Blue Banisters and Arcadia operate as a form of introduction - a prologue to the story Lana wants to share with us. Text Book is not an accessible or particularly "welcoming" opener - it's lyrically dense and complex, and the overall mood it evokes is quite cerebral. The opening line is perfect: this is really her story and she (finally) feels strong enough to tell it. The closing line implies repetition; a dead end. Blue Banisters is about healing and memories. The ghost of a lover still haunts her because the pain he inflicted on her remains unbearable. But she finds comfort in the company of her family and friends who try to heal her wounds even though they probably fail. But they're always there for her. They "fly to her to paint, paint...". There's something hopeful in the song, but Lana has to live with this pain - it'll never go away. Arcadia is one of her most lyrically subversive songs. What seems like a cheeky allegory and an apparent love letter to California becomes a slyly scathing critique against America and the criticism she's received throughout the years. In a way, these three tracks seem to define her current state of mind: the disappointments of love; the unfair criticism; the search for a safe haven - both literally and figuratively - in the world. 
 
@Thunder made some great points about the three-act structure of the album. Dealer is one of Lana's angriest and rawest songs. Thunder is both celebratory and a portrayal of (emotional) stagnancy. Wildflower Wildfire has some of the darkest and most confessional words Lana has ever written, but she finally finds hope. "It's you from whom I learn." This seems to be another critical transitional moment in the album - we finally dive into old UV outtakes. What is their purpose in the narrative? There is a lot of nostalgia in these songs, particularly Nectar of the Gods which ends with Lana feeling lost again. Living Legend and especially Cherry Blossom are sweeter, warmer songs. The fact that the final track, Sweet Carolina, is co-written by the father she "wanted back" (and finally found him) and her sister is very important. I think this will be a very emotional and highly personal ballad. Perhaps nothing has really changed in Lana's life. As Blue Banisters says, this "hole"/pain hasn't been healed and probably never will be. But she's found the support she needs - her father, her siblings, her best friends, her fans, her own self. These are her banisters.
 
So what should we expect from those mysterious tracks in the middle of the album? Black Bathing Suit, Beautiful, Violets for Roses, If You Lie Down With Me...these are very beautiful (pun intended!) and romantic or even sultry/inviting titles. But would such a direction make sense sonically and lyrically? How do we end up with the anger in tracks 9-11? Are these songs about her past? Could the titles be misleading? Is she going to go from something potentially sexy (Black Bathing Suit/If You Lie Down With Me) and pure (Beautiful/Violets for Roses) to something as lyrically dark and angry as Dealer? Could these tracks hold the key to fully understanding Lana's intentions? The fact that insiders avoid talking about these - sure, they want to leave us something to be excited about lol! - makes me think that they may be quite revealing and intense. 

I've been trying to decipher how Lana is going to tell her story and this is what I came up with:
 
Text Book, Blue Banisters and Arcadia operate as a form of introduction - a prologue to the story Lana wants to share with us. Text Book is not an accessible or particularly "welcoming" opener - it's lyrically dense and complex, and the overall mood it evokes is quite cerebral. The opening line is perfect: this is really her story and she (finally) feels strong enough to tell it. The closing line implies repetition; a dead end. Blue Banisters is about healing and memories. The ghost of a lover still haunts her because the pain he inflicted on her remains unbearable. But she finds comfort in the company of her family and friends who try to heal her wounds even though they probably fail. But they're always there for her. They "fly to her to paint, paint...". There's something hopeful in the song, but Lana has to live with this pain - it'll never go away. Arcadia is one of her most lyrically subversive songs. What seems like a cheeky allegory and an apparent love letter to California becomes a slyly scathing critique against America and the criticism she's received throughout the years. In a way, these three tracks seem to define her current state of mind: the disappointments of love; the unfair criticism; the search for a safe haven - both literally and figuratively - in the world. 
 
@Thunder made some great points about the three-act structure of the album. Dealer is one of Lana's angriest and rawest songs. Thunder is both celebratory and a portrayal of (emotional) stagnancy. Wildflower Wildfire has some of the darkest and most confessional words Lana has ever written, but she finally finds hope. "It's you from whom I learn." This seems to be another critical transitional moment in the album - we finally dive into old UV outtakes. What is their purpose in the narrative? There is a lot of nostalgia in these songs, particularly Nectar of the Gods which ends with Lana feeling lost again. Living Legend and especially Cherry Blossom are sweeter, warmer songs. The fact that the final track, Sweet Carolina, is co-written by the father she "wanted back" (and finally found him) and her sister is very important. I think this will be a very emotional and highly personal ballad. Perhaps nothing has really changed in Lana's life. As Blue Banisters says, this "hole"/pain hasn't been healed and probably never will be. But she's found the support she needs - her father, her siblings, her best friends, her fans, her own self. These are her banisters.
 
So what should we expect from those mysterious tracks in the middle of the album? Black Bathing Suit, Beautiful, Violets for Roses, If You Lie Down With Me...these are very beautiful (pun intended!) and romantic or even sultry/inviting titles. But would such a direction make sense sonically and lyrically? How do we end up with the anger in tracks 9-11? Are these songs about her past? Could the titles be misleading? Is she going to go from something potentially sexy (Black Bathing Suit/If You Lie Down With Me) and pure (Beautiful/Violets for Roses) to something as lyrically dark and angry as Dealer? Could these tracks hold the key to fully understanding Lana's intentions? The fact that insiders avoid talking about these - sure, they want to leave us something to be excited about lol! - makes me think that they may be quite revealing and intense. 

15k sold on vinyls so far on USA 

I've been trying to decipher how Lana is going to tell her story and this is what I came up with:
 
Text Book, Blue Banisters and Arcadia operate as a form of introduction - a prologue to the story Lana wants to share with us. Text Book is not an accessible or particularly "welcoming" opener - it's lyrically dense and complex, and the overall mood it evokes is quite cerebral. The opening line is perfect: this is really her story and she (finally) feels strong enough to tell it. The closing line implies repetition; a dead end. Blue Banisters is about healing and memories. The ghost of a lover still haunts her because the pain he inflicted on her remains unbearable. But she finds comfort in the company of her family and friends who try to heal her wounds even though they probably fail. But they're always there for her. They "fly to her to paint, paint...". There's something hopeful in the song, but Lana has to live with this pain - it'll never go away. Arcadia is one of her most lyrically subversive songs. What seems like a cheeky allegory and an apparent love letter to California becomes a slyly scathing critique against America and the criticism she's received throughout the years. In a way, these three tracks seem to define her current state of mind: the disappointments of love; the unfair criticism; the search for a safe haven - both literally and figuratively - in the world. 
 
@Thunder made some great points about the three-act structure of the album. Dealer is one of Lana's angriest and rawest songs. Thunder is both celebratory and a portrayal of (emotional) stagnancy. Wildflower Wildfire has some of the darkest and most confessional words Lana has ever written, but she finally finds hope. "It's you from whom I learn." This seems to be another critical transitional moment in the album - we finally dive into old UV outtakes. What is their purpose in the narrative? There is a lot of nostalgia in these songs, particularly Nectar of the Gods which ends with Lana feeling lost again. Living Legend and especially Cherry Blossom are sweeter, warmer songs. The fact that the final track, Sweet Carolina, is co-written by the father she "wanted back" (and finally found him) and her sister is very important. I think this will be a very emotional and highly personal ballad. Perhaps nothing has really changed in Lana's life. As Blue Banisters says, this "hole"/pain hasn't been healed and probably never will be. But she's found the support she needs - her father, her siblings, her best friends, her fans, her own self. These are her banisters.
 
So what should we expect from those mysterious tracks in the middle of the album? Black Bathing Suit, Beautiful, Violets for Roses, If You Lie Down With Me...these are very beautiful (pun intended!) and romantic or even sultry/inviting titles. But would such a direction make sense sonically and lyrically? How do we end up with the anger in tracks 9-11? Are these songs about her past? Could the titles be misleading? Is she going to go from something potentially sexy (Black Bathing Suit/If You Lie Down With Me) and pure (Beautiful/Violets for Roses) to something as lyrically dark and angry as Dealer? Could these tracks hold the key to fully understanding Lana's intentions? The fact that insiders avoid talking about these - sure, they want to leave us something to be excited about lol! - makes me think that they may be quite revealing and intense. 

I've been trying to decipher how Lana is going to tell her story and this is what I came up with:
 
Text Book, Blue Banisters and Arcadia operate as a form of introduction - a prologue to the story Lana wants to share with us. Text Book is not an accessible or particularly "welcoming" opener - it's lyrically dense and complex, and the overall mood it evokes is quite cerebral. The opening line is perfect: this is really her story and she (finally) feels strong enough to tell it. The closing line implies repetition; a dead end. Blue Banisters is about healing and memories. The ghost of a lover still haunts her because the pain he inflicted on her remains unbearable. But she finds comfort in the company of her family and friends who try to heal her wounds even though they probably fail. But they're always there for her. They "fly to her to paint, paint...". There's something hopeful in the song, but Lana has to live with this pain - it'll never go away. Arcadia is one of her most lyrically subversive songs. What seems like a cheeky allegory and an apparent love letter to California becomes a slyly scathing critique against America and the criticism she's received throughout the years. In a way, these three tracks seem to define her current state of mind: the disappointments of love; the unfair criticism; the search for a safe haven - both literally and figuratively - in the world. 
 
@Thunder made some great points about the three-act structure of the album. Dealer is one of Lana's angriest and rawest songs. Thunder is both celebratory and a portrayal of (emotional) stagnancy. Wildflower Wildfire has some of the darkest and most confessional words Lana has ever written, but she finally finds hope. "It's you from whom I learn." This seems to be another critical transitional moment in the album - we finally dive into old UV outtakes. What is their purpose in the narrative? There is a lot of nostalgia in these songs, particularly Nectar of the Gods which ends with Lana feeling lost again. Living Legend and especially Cherry Blossom are sweeter, warmer songs. The fact that the final track, Sweet Carolina, is co-written by the father she "wanted back" (and finally found him) and her sister is very important. I think this will be a very emotional and highly personal ballad. Perhaps nothing has really changed in Lana's life. As Blue Banisters says, this "hole"/pain hasn't been healed and probably never will be. But she's found the support she needs - her father, her siblings, her best friends, her fans, her own self. These are her banisters.
 
So what should we expect from those mysterious tracks in the middle of the album? Black Bathing Suit, Beautiful, Violets for Roses, If You Lie Down With Me...these are very beautiful (pun intended!) and romantic or even sultry/inviting titles. But would such a direction make sense sonically and lyrically? How do we end up with the anger in tracks 9-11? Are these songs about her past? Could the titles be misleading? Is she going to go from something potentially sexy (Black Bathing Suit/If You Lie Down With Me) and pure (Beautiful/Violets for Roses) to something as lyrically dark and angry as Dealer? Could these tracks hold the key to fully understanding Lana's intentions? The fact that insiders avoid talking about these - sure, they want to leave us something to be excited about lol! - makes me think that they may be quite revealing and intense. 

i love this analysis! i think this album will definitely be lana's definitive "telling my story" album, i can't wait to hear it in full, i think the middle tracks could display a more lighthearted, playful, romantic side of the album, however, i do anticipate they'll be deeper than that, we may think black bathing suit will just be a sexy bop, but i think it'll be deeper than that, we thought arcadia was going to be a sweet, cheeky love song, but it was actually a subversive critique of how she's been potrayed by the general public, she expresses her love & her relationship with los angeles & america, while at the same time, critizing & fighting back against the american audience who've built her up once she pandered to the critics, and tore her down ruthlessly when she decided she to speak her truth, i really feel like this will be a genius album

I've been trying to decipher how Lana is going to tell her story and this is what I came up with:
 
Text Book, Blue Banisters and Arcadia operate as a form of introduction - a prologue to the story Lana wants to share with us. Text Book is not an accessible or particularly "welcoming" opener - it's lyrically dense and complex, and the overall mood it evokes is quite cerebral. The opening line is perfect: this is really her story and she (finally) feels strong enough to tell it. The closing line implies repetition; a dead end. Blue Banisters is about healing and memories. The ghost of a lover still haunts her because the pain he inflicted on her remains unbearable. But she finds comfort in the company of her family and friends who try to heal her wounds even though they probably fail. But they're always there for her. They "fly to her to paint, paint...". There's something hopeful in the song, but Lana has to live with this pain - it'll never go away. Arcadia is one of her most lyrically subversive songs. What seems like a cheeky allegory and an apparent love letter to California becomes a slyly scathing critique against America and the criticism she's received throughout the years. In a way, these three tracks seem to define her current state of mind: the disappointments of love; the unfair criticism; the search for a safe haven - both literally and figuratively - in the world. 
 
@Thunder made some great points about the three-act structure of the album. Dealer is one of Lana's angriest and rawest songs. Thunder is both celebratory and a portrayal of (emotional) stagnancy. Wildflower Wildfire has some of the darkest and most confessional words Lana has ever written, but she finally finds hope. "It's you from whom I learn." This seems to be another critical transitional moment in the album - we finally dive into old UV outtakes. What is their purpose in the narrative? There is a lot of nostalgia in these songs, particularly Nectar of the Gods which ends with Lana feeling lost again. Living Legend and especially Cherry Blossom are sweeter, warmer songs. The fact that the final track, Sweet Carolina, is co-written by the father she "wanted back" (and finally found him) and her sister is very important. I think this will be a very emotional and highly personal ballad. Perhaps nothing has really changed in Lana's life. As Blue Banisters says, this "hole"/pain hasn't been healed and probably never will be. But she's found the support she needs - her father, her siblings, her best friends, her fans, her own self. These are her banisters.
 
So what should we expect from those mysterious tracks in the middle of the album? Black Bathing Suit, Beautiful, Violets for Roses, If You Lie Down With Me...these are very beautiful (pun intended!) and romantic or even sultry/inviting titles. But would such a direction make sense sonically and lyrically? How do we end up with the anger in tracks 9-11? Are these songs about her past? Could the titles be misleading? Is she going to go from something potentially sexy (Black Bathing Suit/If You Lie Down With Me) and pure (Beautiful/Violets for Roses) to something as lyrically dark and angry as Dealer? Could these tracks hold the key to fully understanding Lana's intentions? The fact that insiders avoid talking about these - sure, they want to leave us something to be excited about lol! - makes me think that they may be quite revealing and intense. 

I've been trying to decipher how Lana is going to tell her story and this is what I came up with:
 
Text Book, Blue Banisters and Arcadia operate as a form of introduction - a prologue to the story Lana wants to share with us. Text Book is not an accessible or particularly "welcoming" opener - it's lyrically dense and complex, and the overall mood it evokes is quite cerebral. The opening line is perfect: this is really her story and she (finally) feels strong enough to tell it. The closing line implies repetition; a dead end. Blue Banisters is about healing and memories. The ghost of a lover still haunts her because the pain he inflicted on her remains unbearable. But she finds comfort in the company of her family and friends who try to heal her wounds even though they probably fail. But they're always there for her. They "fly to her to paint, paint...". There's something hopeful in the song, but Lana has to live with this pain - it'll never go away. Arcadia is one of her most lyrically subversive songs. What seems like a cheeky allegory and an apparent love letter to California becomes a slyly scathing critique against America and the criticism she's received throughout the years. In a way, these three tracks seem to define her current state of mind: the disappointments of love; the unfair criticism; the search for a safe haven - both literally and figuratively - in the world. 
 
@Thunder made some great points about the three-act structure of the album. Dealer is one of Lana's angriest and rawest songs. Thunder is both celebratory and a portrayal of (emotional) stagnancy. Wildflower Wildfire has some of the darkest and most confessional words Lana has ever written, but she finally finds hope. "It's you from whom I learn." This seems to be another critical transitional moment in the album - we finally dive into old UV outtakes. What is their purpose in the narrative? There is a lot of nostalgia in these songs, particularly Nectar of the Gods which ends with Lana feeling lost again. Living Legend and especially Cherry Blossom are sweeter, warmer songs. The fact that the final track, Sweet Carolina, is co-written by the father she "wanted back" (and finally found him) and her sister is very important. I think this will be a very emotional and highly personal ballad. Perhaps nothing has really changed in Lana's life. As Blue Banisters says, this "hole"/pain hasn't been healed and probably never will be. But she's found the support she needs - her father, her siblings, her best friends, her fans, her own self. These are her banisters.
 
So what should we expect from those mysterious tracks in the middle of the album? Black Bathing Suit, Beautiful, Violets for Roses, If You Lie Down With Me...these are very beautiful (pun intended!) and romantic or even sultry/inviting titles. But would such a direction make sense sonically and lyrically? How do we end up with the anger in tracks 9-11? Are these songs about her past? Could the titles be misleading? Is she going to go from something potentially sexy (Black Bathing Suit/If You Lie Down With Me) and pure (Beautiful/Violets for Roses) to something as lyrically dark and angry as Dealer? Could these tracks hold the key to fully understanding Lana's intentions? The fact that insiders avoid talking about these - sure, they want to leave us something to be excited about lol! - makes me think that they may be quite revealing and intense. 

I've been trying to decipher how Lana is going to tell her story and this is what I came up with:
 
Text Book, Blue Banisters and Arcadia operate as a form of introduction - a prologue to the story Lana wants to share with us. Text Book is not an accessible or particularly "welcoming" opener - it's lyrically dense and complex, and the overall mood it evokes is quite cerebral. The opening line is perfect: this is really her story and she (finally) feels strong enough to tell it. The closing line implies repetition; a dead end. Blue Banisters is about healing and memories. The ghost of a lover still haunts her because the pain he inflicted on her remains unbearable. But she finds comfort in the company of her family and friends who try to heal her wounds even though they probably fail. But they're always there for her. They "fly to her to paint, paint...". There's something hopeful in the song, but Lana has to live with this pain - it'll never go away. Arcadia is one of her most lyrically subversive songs. What seems like a cheeky allegory and an apparent love letter to California becomes a slyly scathing critique against America and the criticism she's received throughout the years. In a way, these three tracks seem to define her current state of mind: the disappointments of love; the unfair criticism; the search for a safe haven - both literally and figuratively - in the world. 
 
@Thunder made some great points about the three-act structure of the album. Dealer is one of Lana's angriest and rawest songs. Thunder is both celebratory and a portrayal of (emotional) stagnancy. Wildflower Wildfire has some of the darkest and most confessional words Lana has ever written, but she finally finds hope. "It's you from whom I learn." This seems to be another critical transitional moment in the album - we finally dive into old UV outtakes. What is their purpose in the narrative? There is a lot of nostalgia in these songs, particularly Nectar of the Gods which ends with Lana feeling lost again. Living Legend and especially Cherry Blossom are sweeter, warmer songs. The fact that the final track, Sweet Carolina, is co-written by the father she "wanted back" (and finally found him) and her sister is very important. I think this will be a very emotional and highly personal ballad. Perhaps nothing has really changed in Lana's life. As Blue Banisters says, this "hole"/pain hasn't been healed and probably never will be. But she's found the support she needs - her father, her siblings, her best friends, her fans, her own self. These are her banisters.
 
So what should we expect from those mysterious tracks in the middle of the album? Black Bathing Suit, Beautiful, Violets for Roses, If You Lie Down With Me...these are very beautiful (pun intended!) and romantic or even sultry/inviting titles. But would such a direction make sense sonically and lyrically? How do we end up with the anger in tracks 9-11? Are these songs about her past? Could the titles be misleading? Is she going to go from something potentially sexy (Black Bathing Suit/If You Lie Down With Me) and pure (Beautiful/Violets for Roses) to something as lyrically dark and angry as Dealer? Could these tracks hold the key to fully understanding Lana's intentions? The fact that insiders avoid talking about these - sure, they want to leave us something to be excited about lol! - makes me think that they may be quite revealing and intense. 

I've been trying to decipher how Lana is going to tell her story and this is what I came up with:
 
Text Book, Blue Banisters and Arcadia operate as a form of introduction - a prologue to the story Lana wants to share with us. Text Book is not an accessible or particularly "welcoming" opener - it's lyrically dense and complex, and the overall mood it evokes is quite cerebral. The opening line is perfect: this is really her story and she (finally) feels strong enough to tell it. The closing line implies repetition; a dead end. Blue Banisters is about healing and memories. The ghost of a lover still haunts her because the pain he inflicted on her remains unbearable. But she finds comfort in the company of her family and friends who try to heal her wounds even though they probably fail. But they're always there for her. They "fly to her to paint, paint...". There's something hopeful in the song, but Lana has to live with this pain - it'll never go away. Arcadia is one of her most lyrically subversive songs. What seems like a cheeky allegory and an apparent love letter to California becomes a slyly scathing critique against America and the criticism she's received throughout the years. In a way, these three tracks seem to define her current state of mind: the disappointments of love; the unfair criticism; the search for a safe haven - both literally and figuratively - in the world. 
 
@Thunder made some great points about the three-act structure of the album. Dealer is one of Lana's angriest and rawest songs. Thunder is both celebratory and a portrayal of (emotional) stagnancy. Wildflower Wildfire has some of the darkest and most confessional words Lana has ever written, but she finally finds hope. "It's you from whom I learn." This seems to be another critical transitional moment in the album - we finally dive into old UV outtakes. What is their purpose in the narrative? There is a lot of nostalgia in these songs, particularly Nectar of the Gods which ends with Lana feeling lost again. Living Legend and especially Cherry Blossom are sweeter, warmer songs. The fact that the final track, Sweet Carolina, is co-written by the father she "wanted back" (and finally found him) and her sister is very important. I think this will be a very emotional and highly personal ballad. Perhaps nothing has really changed in Lana's life. As Blue Banisters says, this "hole"/pain hasn't been healed and probably never will be. But she's found the support she needs - her father, her siblings, her best friends, her fans, her own self. These are her banisters.
 
So what should we expect from those mysterious tracks in the middle of the album? Black Bathing Suit, Beautiful, Violets for Roses, If You Lie Down With Me...these are very beautiful (pun intended!) and romantic or even sultry/inviting titles. But would such a direction make sense sonically and lyrically? How do we end up with the anger in tracks 9-11? Are these songs about her past? Could the titles be misleading? Is she going to go from something potentially sexy (Black Bathing Suit/If You Lie Down With Me) and pure (Beautiful/Violets for Roses) to something as lyrically dark and angry as Dealer? Could these tracks hold the key to fully understanding Lana's intentions? The fact that insiders avoid talking about these - sure, they want to leave us something to be excited about lol! - makes me think that they may be quite revealing and intense. 

I've been trying to decipher how Lana is going to tell her story and this is what I came up with:
 
Text Book, Blue Banisters and Arcadia operate as a form of introduction - a prologue to the story Lana wants to share with us. Text Book is not an accessible or particularly "welcoming" opener - it's lyrically dense and complex, and the overall mood it evokes is quite cerebral. The opening line is perfect: this is really her story and she (finally) feels strong enough to tell it. The closing line implies repetition; a dead end. Blue Banisters is about healing and memories. The ghost of a lover still haunts her because the pain he inflicted on her remains unbearable. But she finds comfort in the company of her family and friends who try to heal her wounds even though they probably fail. But they're always there for her. They "fly to her to paint, paint...". There's something hopeful in the song, but Lana has to live with this pain - it'll never go away. Arcadia is one of her most lyrically subversive songs. What seems like a cheeky allegory and an apparent love letter to California becomes a slyly scathing critique against America and the criticism she's received throughout the years. In a way, these three tracks seem to define her current state of mind: the disappointments of love; the unfair criticism; the search for a safe haven - both literally and figuratively - in the world. 
 
@Thunder made some great points about the three-act structure of the album. Dealer is one of Lana's angriest and rawest songs. Thunder is both celebratory and a portrayal of (emotional) stagnancy. Wildflower Wildfire has some of the darkest and most confessional words Lana has ever written, but she finally finds hope. "It's you from whom I learn." This seems to be another critical transitional moment in the album - we finally dive into old UV outtakes. What is their purpose in the narrative? There is a lot of nostalgia in these songs, particularly Nectar of the Gods which ends with Lana feeling lost again. Living Legend and especially Cherry Blossom are sweeter, warmer songs. The fact that the final track, Sweet Carolina, is co-written by the father she "wanted back" (and finally found him) and her sister is very important. I think this will be a very emotional and highly personal ballad. Perhaps nothing has really changed in Lana's life. As Blue Banisters says, this "hole"/pain hasn't been healed and probably never will be. But she's found the support she needs - her father, her siblings, her best friends, her fans, her own self. These are her banisters.
 
So what should we expect from those mysterious tracks in the middle of the album? Black Bathing Suit, Beautiful, Violets for Roses, If You Lie Down With Me...these are very beautiful (pun intended!) and romantic or even sultry/inviting titles. But would such a direction make sense sonically and lyrically? How do we end up with the anger in tracks 9-11? Are these songs about her past? Could the titles be misleading? Is she going to go from something potentially sexy (Black Bathing Suit/If You Lie Down With Me) and pure (Beautiful/Violets for Roses) to something as lyrically dark and angry as Dealer? Could these tracks hold the key to fully understanding Lana's intentions? The fact that insiders avoid talking about these - sure, they want to leave us something to be excited about lol! - makes me think that they may be quite revealing and intense. 

Just listened to the singles for the first time in a while and they've aged like fine wine; Textbook went from one of my least favourite Lana songs to one of my top 10.
That outro

I've been trying to decipher how Lana is going to tell her story and this is what I came up with:
 
Text Book, Blue Banisters and Arcadia operate as a form of introduction - a prologue to the story Lana wants to share with us. Text Book is not an accessible or particularly "welcoming" opener - it's lyrically dense and complex, and the overall mood it evokes is quite cerebral. The opening line is perfect: this is really her story and she (finally) feels strong enough to tell it. The closing line implies repetition; a dead end. Blue Banisters is about healing and memories. The ghost of a lover still haunts her because the pain he inflicted on her remains unbearable. But she finds comfort in the company of her family and friends who try to heal her wounds even though they probably fail. But they're always there for her. They "fly to her to paint, paint...". There's something hopeful in the song, but Lana has to live with this pain - it'll never go away. Arcadia is one of her most lyrically subversive songs. What seems like a cheeky allegory and an apparent love letter to California becomes a slyly scathing critique against America and the criticism she's received throughout the years. In a way, these three tracks seem to define her current state of mind: the disappointments of love; the unfair criticism; the search for a safe haven - both literally and figuratively - in the world. 
 
@Thunder made some great points about the three-act structure of the album. Dealer is one of Lana's angriest and rawest songs. Thunder is both celebratory and a portrayal of (emotional) stagnancy. Wildflower Wildfire has some of the darkest and most confessional words Lana has ever written, but she finally finds hope. "It's you from whom I learn." This seems to be another critical transitional moment in the album - we finally dive into old UV outtakes. What is their purpose in the narrative? There is a lot of nostalgia in these songs, particularly Nectar of the Gods which ends with Lana feeling lost again. Living Legend and especially Cherry Blossom are sweeter, warmer songs. The fact that the final track, Sweet Carolina, is co-written by the father she "wanted back" (and finally found him) and her sister is very important. I think this will be a very emotional and highly personal ballad. Perhaps nothing has really changed in Lana's life. As Blue Banisters says, this "hole"/pain hasn't been healed and probably never will be. But she's found the support she needs - her father, her siblings, her best friends, her fans, her own self. These are her banisters.
 
So what should we expect from those mysterious tracks in the middle of the album? Black Bathing Suit, Beautiful, Violets for Roses, If You Lie Down With Me...these are very beautiful (pun intended!) and romantic or even sultry/inviting titles. But would such a direction make sense sonically and lyrically? How do we end up with the anger in tracks 9-11? Are these songs about her past? Could the titles be misleading? Is she going to go from something potentially sexy (Black Bathing Suit/If You Lie Down With Me) and pure (Beautiful/Violets for Roses) to something as lyrically dark and angry as Dealer? Could these tracks hold the key to fully understanding Lana's intentions? The fact that insiders avoid talking about these - sure, they want to leave us something to be excited about lol! - makes me think that they may be quite revealing and intense. 

I don’t think Lana has any problem with NFR, when it got released, it seemed to be the album she was the most proud of and one of her most introspective ones at the time, with how much of her "daily life" was in it. The songwriting was different from her past works such as UV or HM because she was in a different place in her life, and had grown up and matured a lot. But I think that with the amazing reception the album got, Lana might have thought she was finally loved by the general public as a person, when in fact, what people loved was the album, not necessarily her. The general public never really liked her as a person. QFTC is what made her realise people loved her music, but still weren’t on the same boat as her. Chemtrails was her telling how she misses a life without fame and how much of a burden it can be, and also how important her family is to her when times get rough. And now with BB she’s about to tell the whole story. NFR was a statement, it’s where she was back then and where she probably still is in terms of her everyday life, but with Chemtrails and BB, we’re getting a larger picture of her past too, and the damage that the public not liking her as a person has brought.

It still feels surreal that she is releasing Thunder officially, and apparently it is reworked to become a career highlight. Now if she releases it as a single with a music video, it would be beyond perfect