Jeanne Dielman

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. 

@lustforlife 
 
Thank you for the hot tea. What you say about this album being the "end of Lana Del Rey" is both exciting and upsetting...But perhaps there's a reason why she told us to listen to Arcadia the way we listened to the song that introduced her...
 
What should we expect from If You Lie Down With Me? I'm getting bluesy/jazz vibes from it! 
 
 

OMG if she drops LDR what about LANAboards?
 

I am so glad and grateful for this album. Chemtrails needed a « second part » that it doesn’t have sadly. But this album feels already so rich. And I love that I wasn’t in total awe with the singles at first but fuck do they grow on you. 
and our girl know what she is doing, including the interlude with the MV… what a way to create hype and keep us on our toes. 

Even if this turns out to not be true, it's great to have something to look forward to. It's exciting! Especially considering how the hype always dies really early.
But if it indeed turns out to be false, y'all better not jump and drag Lana for not meeting the expectations y'all created yourselves

for sure on the holy trinity. There is no way to put this outside of her 3 best body of work. Alot of people that gave up in cocc era will back quickly

BITCH WHAT OUFF WHAT NO WHAT FUCJ WHAT DOES THIS MEAN
 
BBS being for the lfl stand I’m happy for them omg we’re getting a bop 
 
and beautiful being similar to flip side….only time will tell
 
thank you lustforlife,

Lol, is Black Bathing Suit going to be trap?! That would be fun and the interlude before it would make a lot of sense. For some strange reason though I expect it to be the more melodic/more lyrics-heavy trip hop (or super bluesy) sister of Dealer. 
 
@lustforlife Is Violet for Roses a ballad? The fact that it plays right before Dealer intrigues me a lot...
 
EDIT: Hey...didn't @lustforlife say that there's orchestra and choir on the album? What if Black Bathing Suit is the song that features these elements and takes us completely by surprise while we're expecting a sultry bop? 

Hmm maybe she realized the persona she created is the source of the burden she's been carrying. It would make sense for this album to be a severe deconstruction of Lana the persona, as Elizabeth the person takes her place. A fully realized human being.

violets for roses is about a toxic relationship and heal... Also the heal theme is recurrent on the album. This album is big. alot of you gonna put this on the top of her discography

@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.