wilting daisy

here you go. ultraviolence side b:

i'll just say it. people who hate margaret hate being happy

i don't get the correlation here, sorry.

i don't think lana ever disliked the songs on the deluxe albums or wished they weren't released even if she didn't see them as properly apart of their albums. and i'm sure if black beauty didn't leak, it would've been on the standard version of ultraviolence.

ok so if you remove a bunch of songs, it becomes an ep... you can literally do that with any project. plus violet came between norman and chemtrails anyway

chemtrails isn't an ep

i think she says cough, not carve and i think she's talking about someone grabbing her wrist to cough into as they're dying. i could be wrong tho

a&w/candy necklace/paris texas all popular tracks and i think they'd flow nicely and would easily tell a story lined up like that

i can't remember when but she had said she sees her albums as ending where the standard ends and that she doesn't see deluxe tracks as part of her albums and that her label made her release deluxe editions for sales

this still doesn't change my point. the writing style and the pop set up mixed with accoustic guitars isn't specific to taylor either. that's very common for carly simon and stevie nicks as well who as i mentioned were doing it long before taylor or lana.

do we have real proof of this other than some anonymous "insider" saying this? i'm just a little suspicious since lana famously hates deluxe editions and hasn't released one since ultraviolence.

oh yes taylor swift is the only artist to ever criticize ex-boyfriends in her songs. its not like carly simon and stevie nicks were doing that long before taylor or lana were ever born. nope, just taylor. every other artist who even thinks about writing a song criticizing their ex is just copying taylor.

i wouldn't say they made tnbar "happy". it went from accusatory to regretful. its like the first version is the fresh emotions she feels as she leaves but by the new version she reassessed their relationship and wishes she never left. at least that's how it cones off to me.

if its produced by rick nowels and dean reid are we sure its newly recorded? is it possible thwre's an unknown lust for life era version that just got finished up now? that was around when she wanted to do an unreleased album too, so maybe for that? and if either of those are a possibility could it be the one she was contemplating putting on chemtrails? sorry if we've covered this already. i'm just curious since she hasn't worked with rick nowels and dean reid for awhile. but then if it is newly recorded, what could this signify? an unreleased album coming? or syth being a lead single of a new alhum with rick back at the helm? just a random one off thing?

i thinknit would be a good idea. lana could profit off the songs and she could make sure they're available in the form she wants them in since some songs do have lots of versions. and we know there are some unreleased somgs she really loves. but i almost feel like at this point shes more likely to sprinkle some unreleased songs into new peobects than do a whole unreleased compilation. but then stevie nicks did that and still eventually did a "songs from the vault" album but she rerecorded them all so they all had matching production and i don't see lana doing that. but i do trust she would arrange them in an order that makes it flow sonically and/or thematically. i'm still really hoping she releases an unreleased compilation eventually.

in 2017 lots of people were saying it felt like the true follow up. i'm not sure if here bc i wasn't here but all over social media its what people were saying and i'm sure there were some reviews that said the same thing. they were saying ultraviolence and honeymoon were too mellow and uncommercial and that they didn't have the same punch born to die did but that lana was back to form with lust for life. i don't agree with the sentiment but i saw it a lot.

people saying ocean blvd feels like the true follow up to norman is just like back in 2017 when people were saying lust for life felt like the true follow up to born to die. but we all know that's not true and it isn't this time either. i feel like all lana's albums have something special and important about them even if some of us don't like some of them. i don't think ocean blvd could've existed in its current form without lana getting thru chemtrails and blue banisters first.

a&w isn't the only song that's something new for lana. i'd say fingertips & paris, texas & peppers are all new ground for lana too. idk if you quite count the jon batiste interlude as a song but that's also aomething new and different for her, very revolution 9.

girl its gonna take a lot more than that to damage my speakers. i've listened to so many bad quality bootlegs from the 70s super loud and my speakers handle it just fine and they're vintage. maybe newer speakers aren't as durable or something. like its a valid thing to be concerned about but its just not relevant to me and i'm fine with that

tbh i don't even know what people mean when they say a song has "clipping". maybe i'm dumb but at least i'm happy so i don't mind not seeing the production flaws or whatever. but sound quality has never been a big deal for me anyway. i care more about the songs themselves.

i feel like on paradise she already started departing from the born to die sound, just not as drastically as with ultraviolence. but that makes sense since her label wanted to tack it onto born to die so it still had to match a little bit. but then i feel like honeymoon, norman f**king rockwell & ocean blvd all have moments that sonically echo back to paradise still. i imagine the production on paradise is closer to the sound she wanted for born to die. and as someone who finds born to die's production a little overwhelming and repetitive at times, i find paradise's production a lot more enjoyable overall. and while lorde certainly copied lana's overall vibe musically, i find her production was always a little more minimal and synthetic compared to lana's and lana was always going to experiment with different sounds since she did before she was famous too so i don't think lorde had anything to do with her abandoning that sound.

i don't know anything about music from a technical standpoint but i enjoy her vocals in arcadia and that's all that matters to me arcadia is probably one of my favourite songs on the album

i feel like neither of these albums are about personal growth but i guess its all in the eye of the beholder. i feel like both cotcc and bb are a lot more existential and are rooted much more in acceptance of self than trying to better herself.

i don't personally think she has any bad albums but i might ranklust for life at the bottom bc some of the sentiments feel kind of forced like she was trying to force personal growth for the public's sake or maybe even (don't hate me) born to die bc the production is a little too much at times and kind of repetitive but i love both those albums still, but i do like blue banisters better than those two. but then blue banisters also has a sort of sisterhood/motherhood theme that i connect to very deeply so i realize i might be biased in how much i love this album.

i genuinely like bb and think its a great album. not her best, but also not her worst. all the songs are enjoyable and while its not sonically cohesive at times, it sticks to a clear theme and flows nicely. i feel like most people don't like it bc its probably her most stripped back and unpolished record plus people don't seem to like that she used leaked songs untouched (altho people would be angry if she reworked them too so theres no winning!) overall it kind of reminds me of carly simon's boys in the trees album. i think in a few years the fans will come around to this one just like they do for every other record of hers.