RIP ivory almond

i never said he made lana change anything or maliciously changed it i would be fine with the song if it was really good, but compared to other chemtrails songs, it's a skip for me personally i think jack would have been able to fit lana's vision and sonically matched the song to the album without making it SO stripped down and boring btw i'm not hating on jack, so some of you guys need to calm down im just justifying why some people want lana to get a different producer, but still, most of jack's songs are good

even though kintsugi is an amazing song because of the melody, delivery, and lyrics, the production is one of Lana's worsts im not hating on kintsugi tho

compared to other tracks on Chemtrails like title track, tulsa jesus freak, wild at heart, dark but just a game, etc, it's not that great of an instrumental and could have sounded so much more richer and finished while still sounding like it was part of the album

he turned pink champagne into lmlylaw

drop a title for funsies!!!

omg rob just dm'd me two tracklists and themes for LDR X and LDR XI bc i praised his album and repeatedly called him nepo daddy in a sexy tone: Psycho Lifeguard (2024) - surf rock, psychedelic rock, electric guitar, energetic 1. Ring A Bell 2. Psycho Lifeguard 3. Watch Me 4. Pearl 5. Zodiac* 6. Red Water* 7. Underneath Marquees With You 8. Paradise* 9. Hold Me Down 10. Memory Of Rain 11. Crescent Bay 12. Metropolis 13. Driving To The Corner Store 14. Sunshine *has been reworked (Red Water is an alternate title for Wayamaya) _________________________________________________________________________________________________________________________ Deadly Night Cypress (2026) - folk music, piano ballads, acoustic guitar, witchy 1. To the Place Held for Me When I'm Gone 2. Deadly Night Cypress 3. Puddles on the Pavement 4. Crewel Work 5. Interlude - Roses Bloom For You 6. Only green leaves leave me now 7. Waist deep in icy waves 8. Stars Align 9. Liz, I'm calling from Calihoma 10. My father told me that if I went slowly, I'd be safe - but he was wrong 11. Loved You Then And Now* 12. Body of Cellophane 13. You know that you're never coming home 14. Please try to be better for me 15. World in Flames 16. Gilded Age 17. Fine China* 18. If I Die Young (On & On & On)* 19. I Talked To Jesus* 1. Hang Your Harps Upon Willows - bonus track 2. Lake Placid* - bonus track 3. Loving Me, Loving You - bonus track *has been reworked

have you heard any ocean blvd outtake other than zodiac edit: stream rob's album so this doesn't get moved for being off topic

praying that it's used as the ultimate piano closer to LDR X (the red-orange-yellow-blue californian surf rock summer album)

it felt like a slower version of white dress with less emotion, but that's just bc it's not one of HER tracks, it's Rob's track with her as a feature i don't think it was supposed to feel like a full-on song like Hollywood Bowl does

I've been dancing with the devil, I love that he pretends to care

JUST STARTED THE ALBUM

i did the favs, neutrals, skips one (each percent of favorites is 1 point, and each percent of neutrals is 0.5 points, so if you have 33% favs and 50% neutrals, then it's 58 pts)

okay so i did the mathematical ranking, and im crying rn for context, here is what i SAY my ranking is: 1. Ultraviolence 2. Honeymoon 3. Blue Banisters 4. NFR 5. DYKTTATUOB 6. Born To Die 7. Paradise 8. COTCC 9. Lust For Life ...and this is what it is mathematically: 1. Blue Banisters 2. NFR 3. Honeymoon 4. Ultraviolence 5. DYKTTATUOB 6. Born To Die 7. Paradise 8. Lust For Life 9. COTCC

doing it rn but as i listen to the instrumental, all i can hear is the pearl monologue edit

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

Thunder vs. The Blackest Day

no way im going to LA on the 11th, and staying there until the 18th we need a taco truck-lana del rey-ivory almond meetup

fingertips > kintsugi i hope my mind changes soon bc ik im wrong

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!

personally, i would get rid of Breaking Up Slowly; Wanderlust can go on NFR; and i'd add Dark But Just a Game + Dance Till We Die + Violets For Roses

brb gonna go stream btd all day to help it break more records xoxo sending luv

i told my mom about the lore of the uv era and she told me that i had either been lied to or lana is crazy she just doesn't get the process it takes to make a masterpiece