#FreeCandyNecklace

Lana is trying to proclaim more of her title as one of the greatest singer-songwriters of our generation. she’s working towards a life of subtlety and home grown love.  a quiet life that can be linked to soft, ambient, acoustic sounds for her music. i don’t think she will ever go back to a massive production a la BTD/UV/HM/LFL. from here on out it’s going to get a lot more intimate with producers and she’s going to aim for CLASSIC sounds, ones that you discover at a record store in 30 years and view in the same vein of joni mitchell and others. i believe that after NFR and the acclaim she got, she felt fulfilled FINALLY after always searching for the right sound. now, she’s comfortable in this style of music/creating. 

A lot of things we manifested recently ended up happening:
- amazing covers and photoshoot (and boobs)
- long album
- out in the first months of the year 
- Zach fucking Dawes
- the background singers 
- an actual interesting announcement (and we got the full preorder and the song instead of having to wait til friday)
And there's probably more.
 
This era feels like a dream. Everything seems so promising 

.

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. 

It cracks me up that Lana fans get mad when... Lana's always going to do exactly what she wants. If you don't like it, that's cool. But she's doing what she wants. Why even be mad? You have no choice. And I'm always down to go wherever she takes us. Did some of her choices on BB make sense to me? Not at all. But it's still a good album because it's a Lana album, and it's her vision.
 
 Why not just enjoy the ride? We've heard 1 song from a 16 track album.

Well, it’s been a very eventful day today! We received so much wonderful news regarding the upcoming album, and my spidey senses are already tingling that this will be one of her best yet.
I cannot wait to see all that she still has in store for us. (& I also have a few things cooking up for you all too..)
Time for me to sign off for the night, I’m exhausted after such a busy day! See you all tomorrow, sending all my love to all my lovely Lipsters xx
 

I saw that and was like  but I trust it'll make sense when we hear the actual album. I always forget Lana has her Hillsong-y side lol

Those songs are my favorites on their respective albums so now I’m extra excited for miss American Whore

american whore

American Whore (Lana) & Jack

I’m close to tears. She came with everything.

Not to be a basic white gay but Everything is Embarrassing played at this rave I had to endure going with friends; it was the original version, no edits or mixes and it f*cking slapped. The way that track in specific is as fresh-sounding and anthemic as it was a decade ago goes to show the lengths this woman can go in the right and appropriate context and mindset.
 
Personally, I don’t care *that* much if she never makes music again because I’m at peace with the little she’s given us which was far more substantial, innovative and trailblazing than most artists achieve with their entire careers.