LiquorOffTheTopShelf

After a very stressful couple
of hours, I got tickets for the middle tier in Dublin, seated. It’s my first Lana concert and I’m sooo excited 

After a very stressful couple
of hours, I got tickets for the middle tier in Dublin, seated. It’s my first Lana concert and I’m sooo excited 

i need another nfr

After a very stressful couple
of hours, I got tickets for the middle tier in Dublin, seated. It’s my first Lana concert and I’m sooo excited 

After a very stressful couple
of hours, I got tickets for the middle tier in Dublin, seated. It’s my first Lana concert and I’m sooo excited 

After a very stressful couple
of hours, I got tickets for the middle tier in Dublin, seated. It’s my first Lana concert and I’m sooo excited 

After a very stressful couple
of hours, I got tickets for the middle tier in Dublin, seated. It’s my first Lana concert and I’m sooo excited 

After a very stressful couple
of hours, I got tickets for the middle tier in Dublin, seated. It’s my first Lana concert and I’m sooo excited 

I know it probably wouldn’t be included on this album, since this is Americana, but I’d DIE for a cover of Wicked Games

No 1 in Australia! Her first No 1 since LFL 

Kintsugi and Fingertips hit me last night and I cannot stop listening to them.
 
Kintsuuuuugiiiiiii 

the daddy i miss them part followed by the that’s how the light gets in part is one of the most moving moments of her whole discography 

I haven’t posted my full thoughts on the album yet, but this is her strangest and most unconventional album to date. It took me three listens to start grasping her overall vision and intentions, and I still think that I’ll have to revisit it several times in order to understand it better. It kind of feels like a culmination of her entire discography in terms of themes and inspirations - it shares some similarities with LFL, I suppose - while it introduces new elements (the gospel/background vocalists on the first two tracks; the stream-of-consciousness tracks in the middle; the unhinged foreboding energy of the exquisite instrumentals of the interludes; Jon Batiste’s extraordinary piano solo; the spectacular transition between the sections of A&W; the playful addition of Venice Bitch albeit in its more sinister version; the autotune and muffled watery mixing on Fishtail; the experimentations on Peppers and A&W; the cosy loose warmth of Margaret and Let The Light In; the diaristic lyrics of several tracks; the creative interpolation of SYML and RIOPY’s tracks). It feels too heavy, too confounding and certainly very promising in terms of what we should expect from LDRX.
 
It’s a challenging album, but if Antonoff’s recent comments on Rolling Stone (if I remember correctly) are anything to go by, Lana is entering an entirely new level of artistry where she’s going to push herself even further. At the Billboards awards she admitted that she’s feeling very creative and relaxed these days - remember how stale she felt her writing was during the COCC/BB days? -  and Ocean Blvd feels like that necessary transformative stepping stone that will allow her to explore her art even deeper. It’s been extraordinary to watch and I cannot wait for the next chapter. 

good morning it's one of her best albums 
 
 
 
 

I went to bed last night thinking I can’t wait to get up in the morning so I can listen to the album. It’s really got a hold on me. 
 
Do we know if mother is censored in Fingertips on the vinyl? I still haven’t got mine yet 

Just a post to really appreciate "sweet" and all the beautiful melodies in the song 

The way our girl sings "I'm at the Roadrunner café" is simply in my top 3 she has ever done all music included

I went to bed last night thinking I can’t wait to get up in the morning so I can listen to the album. It’s really got a hold on me. 
 
Do we know if mother is censored in Fingertips on the vinyl? I still haven’t got mine yet 

i started listening to this record with more intention/ less distractedly, and oh my god. BAWLING. I think, what this album tackles is kinda like a very unique perspective of a woman, that can translate to, many changes in life that one has little control over, to being hurt so much but still choosing to still keep the course and being a good natured person (despite the many things) and doing so in a way that the popular opinion might not understand and even hurl scorn for, but in a smart, classy and matter of factly kind of sense. she sings about family, themes of time, character, and identity. she comes out steadfastly, and shining.

like idk about ur guys' cycles of life etc. but this album sounds like the dreadful backstory of the sweetest person you've ever met, and in plainer language, the person that you sort of write off all the time's perspective. she sings of it quietly, and does it with care. and it's heartbreaking,  cus if you've ever been in a position of getting a lot of undeserved flack after doing your best to be a person w integrity/ good character, you can hear the wisdom, the healthily accepted not so cheery facts of life, and the silent faith and confidence that a more quiet, and less boisterous person has. 

in my own life, i think because people see me as sweet, and unassuming, they think i'm naive, or stupid bc of how happy and cheerful i can be, and for the most part, i am, I learned to allow myself that, but, very few people really know the amount of more, let's say negative things that i've gone through. i think they'd be surprised at how I can still keep smiling, and because of things i've gone thru, really emphasized the need to be a positive force. I won't scream it off the mountaintops cus that's my life, and I'm not gonna tell anyone, but this is online so I feel like it's ok to mention, it'll get lost in the thread, but I earned my happiness. and going thru harder times, I feel really appreciative of passing those tests of character. 

this album, resonates w me in that way, and I think, it's a beautifully hopeful record, of how dare I say, people trying to be good, can still be seen, if even silently trying, and having that confidence of being who you are, without having anyone having to applaud/ praise you for it/ give you benefits for it. it's like an answer from the kind of people you might deem forgettable, the chance and comfort to being understood, and that's extremely powerful in our world, cus societally, majority of people are too quick to judge and have even less time and focus to really try to understand something, let alone step outside of themselves to really make space to connect (unless it was a peer/ group etc.) 

I'm really happy for her. she's so real for this, and I love how we're celebrating it, if even just in fragments more thru music and sound. 

So glad I didn’t listen to the leaks. First thoughts, Grandfather is just  
I wish we had more of Lanita, I like her 

Found a clip of what Taylor said about Ocean Blvd and Lana 
 
https://www.tiktok.com/@draytonpeterson/video/7214355507585518894

So glad I didn’t listen to the leaks. First thoughts, Grandfather is just  
I wish we had more of Lanita, I like her 

So glad I didn’t listen to the leaks. First thoughts, Grandfather is just  
I wish we had more of Lanita, I like her 

I’m SO happy she got her second pitchfork BNM! I held off on posting immediate thoughts of the album because there was *so* much to digest. It left me with a perplexing, almost uneasy feeling I’ve seen others echo: that I felt in my bones the album was a total masterpiece—the mood/atmosphere of it is incredibly haunting, darkly whimsical, and unique—but I didn’t feel at first like I would seek out tracks like fingertips/kintsugi/grandfather to listen to on their own or get them stuck in my head. they’re so personal, [artistically] meandering given the automatic writing, and almost “chorus-less” that they feel meant to be consumed with the album in whole. (I’m already wrong because I’ve replayed them all a few times). it made me feel similar to the way that honeymoon did—although that album had more traditional hooks/bridges, it took a while for it to sink into my bones and get stuck in my head, and for me to crave specific tracks to replay. this one’s beauty will grow with time for me, I’m certain.
 
the longer I sit with this album, the more I think it’s one of her most cohesive ones. candy necklace (I love the interludes, especially jon batiste’s!) and paris, texas were the major highlights for me on first listen—these, to me, sum up the mood of the album. “you’re home when you’re alone”: when your mother or lover strands you and the media forsakes you, you still have yourself and what you choose to do with your life, your love, your grief, your glory.
 
the whole album feels like that plastic bag scene in american beauty, down to the muted piano tones. it’s like she takes the ‘public mythology’ of LDR and completely flips it inside out and walks you through each vein and ventricle, how the heart beats. now I’ll think of fingertips every time someone mentions this is what makes us girls, or A&W when I think of ride, etc. it’s the glowing inner workings of her previous songs, like their commentary. it’s starkly and deeply personal in a way that feels like we almost shouldn’t be listening, and she’s shared thoughts with us we hadn’t previously been privileged to. it’s an honor.
 
she truly is in a creative class of her own, and she is masterful at her craft, leading an artistic life and building a legacy through her body of work. I am so eager to see where she goes from here, and so proud 
 
 

Ok three white butterflies just hit me like a fucking truck OMG