cinnamontaco

it's a commentary on being a woman in Hollywood... everyone watching you, being under the eye of the camera, being constantly observed from all angles and all the different versions of yourself you put on for the public 
 
lana talking in the background of the clips represents her taking charge of her life, finally being of charge of her art and direction and how the media around her is published 

so tru x

no I think the name of the album is well chosen 

They always have store exclusive as "UK only" items. The white vinyl is one of them too.

And when I say Powder is one of the best songs off the album...

not Rob serving beautiful visuals and his daughter NOTHING. 
 
 

Me when Jack Antonoff

Caaaaaroline, what kind of 
was she…

tommy is the sweetest girl, she is suporting the album so much on her insta stories

Harry Nilsson tiene una cancion, su voz se rompe al minuto 2:05
 

idk why you're acting all surprised, it was obvious from the start this album wouldn't get 10/10 reviews since it's too diverse for the reviewers - it's not a too digestible album and this is EXACTLY why it's one of her best
 
the truth is that top rated albums are consistent and sometimes just safe, critics don't want to think and interpret too much cause they're often too stupid for that lmfao

I’m so glad she isn’t sacrificing anything for critical acclaim. NFR’s one of my fav albums but it’s hands down her safest album too. It’s very easy for critics to love. Ocean Blvd is more daring and unconventional with moments like the second part of A&W, Fingertips and Peppers that lead to split opinions. It’s way more interesting to me. I love when she experiments and doesn’t keep it safe lyrically and sonically, but that’ll always be hit or miss with critics.

Kintsugi and BOZ meeting in court after Interscope gets their asses 

praying for the days when gays learn what a melody is... 

Some of y’all need to go to music school and learn what a melody is lmao you’re embarrassing yourselves

Agreed, Lana was at a really interesting point in her career for LFL though, that attributed to it being less complete feeling wise. We all grow and change which she obv has but I feel like there was more pressure and eyes on her in regards to pushing for success/mainstream presence. Now she has solidified herself and proven she is a mainstay regardless of traditional success so she is more free and evolved. This has allowed her to really capture what LFL could have been.
 
I find her comment about this album being so easy to make super interesting too. Like let's all take that in for a moment. This is something she regarded as easy and just going with the flow and yet she has made one of the best albums of her career 10+ years in the game. Innate talent, intuition, vision, and success. Love to see it!

#1. The Grants / Did you know that there's a tunnel under Ocean Blvd / Sweet / A&W / Candy Necklace / Jon Batiste Interlude / Kintsugi / Fingertips / Paris, Texas / Grandfather please stand on the shoulders of my father while he's deep-sea fishing / Let The Light In / Margaret / Fishtail / Peppers / Taco Truck x VB
 
#2. Judah Smith Interlude
 

I hope she keeps working with actual pianists in future albums. This is not a diss to Drew or Jack cause they did an amazing job but I missed actual compositions instead of just some accompanying chords (which also work sometimes of course)

I'm glad Venice Bitch turned into its final form for NFR! becoming the classic it is. But I also think ending DYKTTATUOB with the demo version makes sense sonically and it contrasts so much with the heavy themes from the first half of the album. It's kinda giving 

Because it’s about ending a cycle she started with NFR (where VB happened to be the album’s biggest moment). It’s the ultimate liberation after ruminating on so many layers of trauma. Makes perfect sense and I wish people wouldn’t reduce this as recycling a track. It clearly has a thematic purpose.