Rock Candy

Idk why so many people act like she looks miserable on stage or like she doesn’t want to be there, Lana said before they have been planning on touring since last year and have been working on getting a band together so she clearly wants to tour. I think she is just getting use to playing such huge crowds again. I think Lana just has a natural resting dramatic face
 
Also she doesn’t really do things she doesn’t want to do, she spent the entire UV era running away from press lmao

barefeetchicken1985

The fact that we at least used to have the Honeymoon account as an archive of that era and now if you want to find those posts, you have to find them reuploaded 

hi it's me Lana! After years of lurking in disguise I decided to say hi.. please stream new robster xx love ♥️ lizzie

I really hope she starts using OceanBlvd…

Oh... I think that in the break before the album, she will have fun and write music with her dad and friends "in the industry".
Billie?? 
 
Maybe it will be so good to support her in streaming and keep in plain sight 
And in between breaks to throw out unreleased!!(or remixes)
 

Oh... I think that in the break before the album, she will have fun and write music with her dad and friends "in the industry".
Billie?? 
 
Maybe it will be so good to support her in streaming and keep in plain sight 
And in between breaks to throw out unreleased!!(or remixes)
 

'LMLYLAW,' like 'How To Disappear,' show Lana writing the music of early middle age and early middle age concerns, as do 'Sweet,' 'Arcadia,' 'Sweet Carolina,' 'Grandfather,' 'The Grants,' the COCC title track, 'Hollywood Bowl,'  'Violets For Roses,' 'Margaret,' and others.
 
Of course, the quality and focus vary from track to track; we may prefer some over others, or like them all. The probably-unconscious influence of Carly Simon is manifesting. This is where she is as this point of her life; it's normal, it's natural, it's to be expected. She's listening to her inner voice and being responsible to it. And she hasn't even had a child yet. 
 
'OB' was a real hodgepodge of sounds and song styles, and I get the feeling she was probably more comfortable with the more streamlimned 'BB' and 'COCC' albums, even if she thought 'COCC' needed a bit more filling out.  
 
And it felt to me as if she were more 'present' in 'The Grants,' 'Grandfather,' 'Kintsugi' and 'Sweet' than she was in, say, 'Peppers.'  
 
I'd prefer something different for LDRX, as I feel the songs mentioned above in the first paragraph are starting to sound repetitious thematically and musically. I still want lyrical substance, but both 'Peppers' and 'Taco Truck' were highlights of 'OB' for me, as well as 'LTLI.' 

I just feel like now is the perfect time for the unreleased album. The songs are already viral, the demand is insane, her streaming numbers are going ballistic, and she doesn't even have to write anything new (which is great because she said in W mag that she's getting less ideas atm). Lead single Hollywood with a fun glamorous Lynchian music video by Rich Lee, album cover portrait shot by Neil Krug, a tour of some kind, a massive financial push from the label and there's her #1!

I would love more samples from older eras and I think we will be getting some on her next album. On DYKTATUOB, we have “palm trees in black and white.” I would absolutely love to see “do you like my fake nails daddy” reworked but a girl can dream. She has SO much unpublished and older work that she’ll probably sample from a track we were not anticipating. I was surprised when Jump was sampled but it made me so happy <3

"Embarrassment. It’s what I felt…… when nothing was announced that day. I had all of yours backs. You never had mine. It’s okay, I will rise" 
were waiting @TheDollClub 
hey at least we'll know the drama behind candy necklace around that time

manifesting long nails on your back

I think we should permanently ban fake tracklist posting 

Some stuff from her Instagram 
 
There were stories of a church in the forest up north 
Recreation Area 32 
Today’s news - tomorrow’s fish papers
Out of place, in my element 
If you only knew what I was thinking 
Almost famous 
Last minutes of daylight
In Zimmerman with sandals, on one summer dress to choose
 
 

Kalmia…

yeah because lana told him to obviously? its not like he maliciously took the song and made lana change thw lyrics and tone the instrumental down. its not the first time the final version of one of her songs is drastically different from the demo. who are we gonna blame for changing beautiful people beautiful problems? rick nowels?

My sister is a huge huge Lana fan since Born to Die like me (we actually grew up listening to Lana together lol) but she kinda stopped keeping track of her during Chemtrails - Blue Banisters (she still played all her older stuff though, including Norman which is her favorite). I was kinda sad bc I couldn't discuss those albums with her since she didn't even give them a try  Now she's 100% back with Ocean Blvd which she loved and now she fell in love with Chemtrails 
 
The power of Ocean Blvd

Fishtail has grown on me extremely. I'd say my previous favorites have been replaced by Fishtail. The eerie vibe, her vocals, the instrumental. When the first beat drops. I'm in love. How did I not hear the magnificence on the first listen? ...you wanted me sadder. 

After yet another month with the album, i realize that it actually is one of my top 4 albums, but i believe that the way the album was arranged has thrown me off and made me believe that there is only a limited selection of songs that are actually good. The arrangement also makes the album feel much shorter than 16 tracks; let me visualise my thought process
 
Ok, below is the tracklist divided into sections based on changes in sound/concept/vibe that I have noticed. I put a heart next to my top 5 tracks just to give you an idea of any bias that I may have when writing my in-depth analysis on the effect of the tracklist.
 
1. The Grants
2. Did you know there’s a tunnel under Ocean Blvd
3. Sweet ❤️
4. A&W
5. Judah Smith Interlude
6. Candy Necklace
7. Jon Batiste Interlude
8. Kintsugi
9. Fingertips
10. Paris, Texas
11. Grandfather Please Stand on the Shoulders of My Father While He's Deep Sea Fishing ❤️
12. Let The Light In ❤️
13. Margaret
14. Fishtail ❤️
15. Peppers ❤️
16. Taco Truck x VB

Okay, so the blue section contains one of my top 5: Sweet. However, all other songs in this section were released as singles and I had already listened to them plenty of times before the album release, so I don't listen to them as much anymore. In addition, A&W's length doesn't make it an easy song to listen to, unlike Venice Bitch (another long song), which is easier to listen to because of its instrumental and much lighter lyrics. A&W is heavy in its first part and repetitive in its second part, so even though it is a great song and shorter than Venice Bitch, it's harder to sit through.

Next, we have the purple section. This section is not only limited to two interludes and a dark piano ballad, but it also acts as a divider for the album as a whole. After Jon Batiste Interlude, it feels like a new album with (based on popular opinion) better songs in general. Judah Smith Interlude is just shouting and piano. Jon Batiste Interlude is instead happy shouting with more uplifting piano. Both are still skips on the album because they are simply interludes. Interludes are meant to be connections between songs or a transition from one part of an album to the next, but with Candy Necklace stuck right in between the two, the section as a whole feels like a skip.

Now we have our grey section; perhaps the heaviest section of the whole album, regardless of its two track length. Kintsugi and Fingertips are lyrical masterpieces and both top songs from Lana. As for their flaws: Kintsugi goes on for too long with the same piano melody over and over again. Her voice is also very quiet and mumbly, and overall, this song has the weakest production out of all the tracks. Fingertips does a better job with production: Lana's voice is clearer, there are more instruments, very orchestral, but where it falls short is its structure (or lack of). This song has no chorus, it is just verse after verse. This doesn't really matter, simply because of its amazing lyrics, but having it be right next to Kintsugi, which is RIGHT next to our interludes, the album feels too drawn out at this point and stripped of any warmth/energy. 

These last two sections are my favorites because 1) they have the best songs imo, and 2) they are a breath of fresh air from what Lana just put us through in the first three sections. Out of the four orange section songs, Margaret is the weakest and Paris, Texas is a close second. Nevertheless, these are still some of my favorites from the album and there are no bad songs from the last 8 tracks. Paris, Texas, though yet ANOTHER piano-based song, is simple and structured nicely with a catchy melody and pickup in energy from Kintsugi/Fingertips. This is by far the easiest listen on the album, which is why it is a favorite among many casual listeners. GPSOTSOMFWHDSF has one of the best instrumentals on the album, with an amazing buildup that we haven't heard since track 2, DYKTTATUOB. Let The Light In is my #1 song on the entire album; it has warmth, it has amazing lyrics, it has the best featured artist, etc. My only problem with it is that it has NO buildup. The song starts with all the instruments and ends the same way, consistently loud throughout the song. Margaret's a cute song, but I don't find anything special in it that I can't find in other songs other than its Bleachers-like sounds, which take a while to come in and a while to go out. 

Last but not least, we have the green section. Each song iconic and a bop in its own way. Fishtail starts as what we think is going to be ANOTHER piano ballad, and then hits us with one of the best beat drops in musical history. Where does this song fail to be perfect? The random autotune on parts that don't need it and lack of autotune on parts that do need it. Also, Lana sings so off-key with the instrumental toward the end that it's somewhat painful to hear. But none of that really matters because it's so good as a whole, which earns it a heart from me. Peppers is the sister song to Fishtail, using parallel lyrics and also being another bop. This bop feels less electronic though, and more authentic with an amazing bass line and jaw-dropping surf-rock section. The song gradually gets more chaotic, yet still composed in a way to where it isn't all over the place. This leads us to our last song on the album, which is a little disheartening, given that it feels like the album just recently peaked. The entire first half of this song is perfect, lyrics are good, guitar is good, vibe is good, and then we transition. The transition does throw you for a loop because it does sound a bit like a fan-made mashup, but nonetheless, the trap version of Venice Bitch comes in to sweep us off our feet. Lana even adds iconic adlibs to an already iconic song: "Get high, drop acid, never die, not tonight, Lake Placid!" The album ends with the lyrics: "Signing off, bang bang, kiss kiss." With an album full of samples from past songs and lyrical references to unreleased ones like Serene Queen and Jump, this closer sums up the whole "full-circle" aspect that Lana has given us and continued to give us with references to her old looks in the Candy Necklace MV. 

In conclusion, even though the album's individual songs are some of Lana's best work, the arrangement and structure makes the album feel slightly more insignificant than it is. If she had cut out the interludes and switched a few tracks around, the album would probably feel longer and more enjoyable even with fewer tracks. However, on the narrative side of things, the tracklist makes sense. No album is perfect (except for Ultraviolence), and this album is just an example of how composition makes a big difference. Also, shout out to whichever member said this (I forgot), but a lot of the songs on this album have long intros and outros, where Lana only sings for a short part in the middle, which contributes to it feeling shorter than some of her other records. Thank you for your time, LB!

March was such a terrible, terrible month for me, it even ruined my first listening experience with this album.
I feel better now and Ocean Blvd has become the highlight of my year.
 
The Grants - Ocean Blvd - Sweet are some of her best ever vocals, lyrics and performance
A&W - Candy Necklace - Kintsugi - Fingertips - Paris Texas has to be her darkest run ever, and not only that but A&W and Fingertips are career peaks
Grandfather - Let the Light In - Margaret  These songs are epic
And Peppers and Taco Truck are absolute bops. Taco Truck is one of her best ever songs to smoke to...
 
The lyrics are fantastic through the whole thing, so many iconic lines and interesting stories. Fingertips is definitely my favorite.
 
Also it's incredible how the release of this album kinda officially cemented her as a totally MAIN global artist. Selling out big shows, headlining festivals all over the world, awards, critical acclaim, record-breaking streaming numbers... ugh. I knew 2023 was going to be huge for her. 2024 will be bigger!
 
Thank you Lana.

Honestly this album gets better and better every listen, its really beautiful and its giving early summer vibes, which I love. Its still top3 for me
 

I overlistened the Grants a bit after it's release, but now after a longer hiatus it sounds so good again 

I feel like the interludes mess up the middle of the album so much😭 Like Judah Smith Interlude could have just been a sample on a song or maybe cut it down to 2 minutes. And idk if the Jon Batiste Interlude is necessary at all 
 
@ivory almond you should write some lyrics to the Judah Smith Interlude and include a sample of the speech 

give her a CHANCE  
to get to u, save u, if i take my life, find ur astral body, put it into my eyes, give u two seconds to cry, take you home, i, i'll give u a blanket, ur spirit can sit and watch tv by my sideeeeeeeeee

some of you will never understand... I'm sorry, honey.