RIP ivory almond

the way im using my last bit of storage on my macbook to listen to jack antonoff

when i did this and entered the url, it just downloaded an unreadable audio file 😭

omfg yayyyy

wait can u post the url here then? 😭

WE CAN WATCH IT FOR FREE BRB

i need nfr jimmy NOW

when the three tracks she just recorded were actually deluxe tracks for Del Norte County

A&W - 79 Candy Necklace - 23 Let The Light In - 59 PLEASE DONT LET A&W WIN LET THE LIGHT IN SUPERIOR

im such a slut for her chaotic songs (ex. Shades of Cool bridge, West Coast outro, Venice Bitch instrumental, Black Bathing Suit outro, A&W sample/climax/background noises, surf rock Peppers chorus, Dealer screaming, etc.) and Zodiac sounds like it would fit in this list, so ig what im saying is... leak zodiac and pls have lana do something crazy on the next album

me looking for the 808 drum machine preset that I KNOW he used

finally i rly didnt think they would charge him for that one

if yall arent willing to fight, im going again, it's been 21 hours A&W - 77 Candy Necklace - 24 Let The Light In - 60

3rd fav artist atm, and i made some concept art for her second album, "Preacher's Wife." Ethel Cain — "Preacher's Wife" (November 2024) 01. Nineteen 02. Angel Trumpets 03. Men Burn Stars 04. Grapevine (ft. Weyes Blood) 05. Runaway Bride Hunt 06. Cold October 07. Peter III 08. Crooked House (ft. Orville Peck) 09. Touched All Over 10. Staircases That Lead To Nowhere 11. Rib Of Adam 12. Eucharist 13. Dormition

It hurts so much more when you get to see an actor/actress OUTSIDE of their character a lot. Seeing interviews with him, his social media, etc. made a lot of fans feel very close which is what makes this so much more tragic.

ok so i literally wrote up a whole page on why the tracklist sucks a couple months ago, so ill just copy and paste it here: After yet another month with the album, 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 3/4 songs that 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.

A&W - 78 Candy Necklace - 24 Let The Light In - 59

help nvm

David Kahne - 22 Emile Haynie - 10 Dan Heath - 12 Dan Auerbach - 15 Blake Stranathan - 7 Rick Nowels - 17 Zach Dawes - 9 Barrie-James O’Neill - 9

A&W - 77 Candy Necklace - 25 Let The Light In - 59

A&W - 75 Candy Necklace - 24 Let The Light In - 62

A&W - 74 Candy Necklace - 26 Let The Light In - 61

Honeymoon 01. Violets In Your Eyes 02. Pink Flamingos 03. Hollywood Legends 04. Let There Be Light 05. Vengeance 06. Freak Like Me 07. Downtown Scene 08. Rose Garden - Interlude 09. Only You 10. Soft Ice Cream 11. Darker & Darker 12. Lying Love 13. White Tennis Shoes 14. Good Intentions (Don't Let Me Be Misunderstood)

A&W - 72 Candy Necklace - 28 Let the Light In - 61

A&W - 63 Candy Necklace - 37 Let The Light In - 61