AphroditeBaby

Love that many reviewers are noticing the narratives that are present in the lyrics and throughout the references and repetition  COCC has a lot of story to it, maybe her most directly sequenced album for me narratively.
 
(Examples being White Dress, Yosemite, For Free, Breaking Up Slowly, Dance till we Die, etc and the way she looks to celebrities in the past for authenticity and self questions her own + her fame, and even uses her repeated phrases like 'for free' 'no candle in the wind'... also COCC, LMLYLAW, NAWWAL, WAH, etc. about redefining her use/worth and values as an artist and person and lover)
 
I think COCC is getting a bad rap rn for how its less lyrically precise or flowery than NFR which made kind of sweeping statements, but there really is a "life lived" here, as Lana said, and although I can understand her hesitation in calling the album done, there really IS a life lived.
 
Also, hate or call NFR overrated all you want, It did some serious heavy lifting IMO in getting many places to see her as a serious artist now, and the goodwill doesn't seem to have been lost in the last year. COCC is an album that requires repeat listens and attentive ears to piece together how its not 'just another Lana Del Rey album' (looking at you Alexis Petridis from The Guardian) and i could easily have foreseen everywhere tearing this album apart for 'how far away from NFR it is'
 

Love that many reviewers are noticing the narratives that are present in the lyrics and throughout the references and repetition  COCC has a lot of story to it, maybe her most directly sequenced album for me narratively.
 
(Examples being White Dress, Yosemite, For Free, Breaking Up Slowly, Dance till we Die, etc and the way she looks to celebrities in the past for authenticity and self questions her own + her fame, and even uses her repeated phrases like 'for free' 'no candle in the wind'... also COCC, LMLYLAW, NAWWAL, WAH, etc. about redefining her use/worth and values as an artist and person and lover)
 
I think COCC is getting a bad rap rn for how its less lyrically precise or flowery than NFR which made kind of sweeping statements, but there really is a "life lived" here, as Lana said, and although I can understand her hesitation in calling the album done, there really IS a life lived.
 
Also, hate or call NFR overrated all you want, It did some serious heavy lifting IMO in getting many places to see her as a serious artist now, and the goodwill doesn't seem to have been lost in the last year. COCC is an album that requires repeat listens and attentive ears to piece together how its not 'just another Lana Del Rey album' (looking at you Alexis Petridis from The Guardian) and i could easily have foreseen everywhere tearing this album apart for 'how far away from NFR it is'
 

Love that many reviewers are noticing the narratives that are present in the lyrics and throughout the references and repetition  COCC has a lot of story to it, maybe her most directly sequenced album for me narratively.
 
(Examples being White Dress, Yosemite, For Free, Breaking Up Slowly, Dance till we Die, etc and the way she looks to celebrities in the past for authenticity and self questions her own + her fame, and even uses her repeated phrases like 'for free' 'no candle in the wind'... also COCC, LMLYLAW, NAWWAL, WAH, etc. about redefining her use/worth and values as an artist and person and lover)
 
I think COCC is getting a bad rap rn for how its less lyrically precise or flowery than NFR which made kind of sweeping statements, but there really is a "life lived" here, as Lana said, and although I can understand her hesitation in calling the album done, there really IS a life lived.
 
Also, hate or call NFR overrated all you want, It did some serious heavy lifting IMO in getting many places to see her as a serious artist now, and the goodwill doesn't seem to have been lost in the last year. COCC is an album that requires repeat listens and attentive ears to piece together how its not 'just another Lana Del Rey album' (looking at you Alexis Petridis from The Guardian) and i could easily have foreseen everywhere tearing this album apart for 'how far away from NFR it is'
 

Arkansas/Our Kansas is iconic to me LOL. I love little flourishes like that that give off small town Lizzy Grant vibes with a wink. 

WITHSTANDING ALL THE TIME CHANGES AND SEASONS

Love that many reviewers are noticing the narratives that are present in the lyrics and throughout the references and repetition  COCC has a lot of story to it, maybe her most directly sequenced album for me narratively.
 
(Examples being White Dress, Yosemite, For Free, Breaking Up Slowly, Dance till we Die, etc and the way she looks to celebrities in the past for authenticity and self questions her own + her fame, and even uses her repeated phrases like 'for free' 'no candle in the wind'... also COCC, LMLYLAW, NAWWAL, WAH, etc. about redefining her use/worth and values as an artist and person and lover)
 
I think COCC is getting a bad rap rn for how its less lyrically precise or flowery than NFR which made kind of sweeping statements, but there really is a "life lived" here, as Lana said, and although I can understand her hesitation in calling the album done, there really IS a life lived.
 
Also, hate or call NFR overrated all you want, It did some serious heavy lifting IMO in getting many places to see her as a serious artist now, and the goodwill doesn't seem to have been lost in the last year. COCC is an album that requires repeat listens and attentive ears to piece together how its not 'just another Lana Del Rey album' (looking at you Alexis Petridis from The Guardian) and i could easily have foreseen everywhere tearing this album apart for 'how far away from NFR it is'
 

Love that many reviewers are noticing the narratives that are present in the lyrics and throughout the references and repetition  COCC has a lot of story to it, maybe her most directly sequenced album for me narratively.
 
(Examples being White Dress, Yosemite, For Free, Breaking Up Slowly, Dance till we Die, etc and the way she looks to celebrities in the past for authenticity and self questions her own + her fame, and even uses her repeated phrases like 'for free' 'no candle in the wind'... also COCC, LMLYLAW, NAWWAL, WAH, etc. about redefining her use/worth and values as an artist and person and lover)
 
I think COCC is getting a bad rap rn for how its less lyrically precise or flowery than NFR which made kind of sweeping statements, but there really is a "life lived" here, as Lana said, and although I can understand her hesitation in calling the album done, there really IS a life lived.
 
Also, hate or call NFR overrated all you want, It did some serious heavy lifting IMO in getting many places to see her as a serious artist now, and the goodwill doesn't seem to have been lost in the last year. COCC is an album that requires repeat listens and attentive ears to piece together how its not 'just another Lana Del Rey album' (looking at you Alexis Petridis from The Guardian) and i could easily have foreseen everywhere tearing this album apart for 'how far away from NFR it is'
 

Love that many reviewers are noticing the narratives that are present in the lyrics and throughout the references and repetition  COCC has a lot of story to it, maybe her most directly sequenced album for me narratively.
 
(Examples being White Dress, Yosemite, For Free, Breaking Up Slowly, Dance till we Die, etc and the way she looks to celebrities in the past for authenticity and self questions her own + her fame, and even uses her repeated phrases like 'for free' 'no candle in the wind'... also COCC, LMLYLAW, NAWWAL, WAH, etc. about redefining her use/worth and values as an artist and person and lover)
 
I think COCC is getting a bad rap rn for how its less lyrically precise or flowery than NFR which made kind of sweeping statements, but there really is a "life lived" here, as Lana said, and although I can understand her hesitation in calling the album done, there really IS a life lived.
 
Also, hate or call NFR overrated all you want, It did some serious heavy lifting IMO in getting many places to see her as a serious artist now, and the goodwill doesn't seem to have been lost in the last year. COCC is an album that requires repeat listens and attentive ears to piece together how its not 'just another Lana Del Rey album' (looking at you Alexis Petridis from The Guardian) and i could easily have foreseen everywhere tearing this album apart for 'how far away from NFR it is'
 

Love that many reviewers are noticing the narratives that are present in the lyrics and throughout the references and repetition  COCC has a lot of story to it, maybe her most directly sequenced album for me narratively.
 
(Examples being White Dress, Yosemite, For Free, Breaking Up Slowly, Dance till we Die, etc and the way she looks to celebrities in the past for authenticity and self questions her own + her fame, and even uses her repeated phrases like 'for free' 'no candle in the wind'... also COCC, LMLYLAW, NAWWAL, WAH, etc. about redefining her use/worth and values as an artist and person and lover)
 
I think COCC is getting a bad rap rn for how its less lyrically precise or flowery than NFR which made kind of sweeping statements, but there really is a "life lived" here, as Lana said, and although I can understand her hesitation in calling the album done, there really IS a life lived.
 
Also, hate or call NFR overrated all you want, It did some serious heavy lifting IMO in getting many places to see her as a serious artist now, and the goodwill doesn't seem to have been lost in the last year. COCC is an album that requires repeat listens and attentive ears to piece together how its not 'just another Lana Del Rey album' (looking at you Alexis Petridis from The Guardian) and i could easily have foreseen everywhere tearing this album apart for 'how far away from NFR it is'
 

Love that many reviewers are noticing the narratives that are present in the lyrics and throughout the references and repetition  COCC has a lot of story to it, maybe her most directly sequenced album for me narratively.
 
(Examples being White Dress, Yosemite, For Free, Breaking Up Slowly, Dance till we Die, etc and the way she looks to celebrities in the past for authenticity and self questions her own + her fame, and even uses her repeated phrases like 'for free' 'no candle in the wind'... also COCC, LMLYLAW, NAWWAL, WAH, etc. about redefining her use/worth and values as an artist and person and lover)
 
I think COCC is getting a bad rap rn for how its less lyrically precise or flowery than NFR which made kind of sweeping statements, but there really is a "life lived" here, as Lana said, and although I can understand her hesitation in calling the album done, there really IS a life lived.
 
Also, hate or call NFR overrated all you want, It did some serious heavy lifting IMO in getting many places to see her as a serious artist now, and the goodwill doesn't seem to have been lost in the last year. COCC is an album that requires repeat listens and attentive ears to piece together how its not 'just another Lana Del Rey album' (looking at you Alexis Petridis from The Guardian) and i could easily have foreseen everywhere tearing this album apart for 'how far away from NFR it is'
 

It's cute. I was meh about it before, but I actually think the body double + her being in the cast kind of helped. Lana somberly skating through the peep hole trying to do the moves she could do when she was 19 was really sweet.
Also, the twirl moment in the bridge/buildup was great, I teared up a little (mostly because of the song, but yeah) That moment would've been good to be like a lizzy-lana back and forth though, but who knows what their original plan was before she broke her elbow.
 

This is gonna sound negative but wow the way that Ben and Ed and everyone inflates her ego here is kind of like... its a lot.
 
Don't get me wrong, some of it is deserved, I genuinely think she's one of the greats of our time musically (lyrically SOMETIMES if she tries ala NFR) but they really prop her up to a high standard, and sometimes 'Lana Del Rey' is just as much high emotion high drama high reality as she is campy and simple and understated. (Take the lyrics on even the title track of COCC which are quite different in approach from NFR it seems)
 
Hearing about White Dress (brief spoilers about my thoughts about the song and some rambling below)
 

My problem with the p4k review is that large parts of it could have been written just by knowing the title of the record and would have better served as think pieces about her post QFTC, post Annie Mac, etc. and not as part of an album review.
 
It's fine to say that Lana's public image has gone south or for the worse, or that you personally cannot 'stan' or condone her comments, actions anymore, and even for it to complicate the music because its hard to separate Art from Artist (and also worth asking if thats even an admirable goal in the first place!). I think those are totally valid responses to whats happened in the last year.
 
Its just that it makes the review and subsequent score sound like an arbitrary downgrade from NFR, not because of the music, but because its less easy to paint a 'next best american songwriter' narrative for her because she's more complicated now. It's not that Jack and Lana made some slip ups in the production, some of the lyrics could be better, some of the music isn't as good, etc. - Its just about the narrative, and while narrative driven reviews may be the most powerful and affirming to people (positive or negative), I really think they're lacking in substance when they are such a large part of the review. If I look back at the NFR review, besides it giving a score that fit the words, it also is just as much substantively about the music, and why the narrative *is palpable because of the musical elements* as it does talk a big game about what the album 'means', and its a much better review for it.
 
So you think Lana's a racist or misinformed or whatever. Let's accept that. How does that actually impact the music? This review doesnt do a good job of telling me this beyond 'it kind of makes it feel worse/less okay to root for her' vaguely. I actually DO think COCC is like a 7.5-8.2/10 range, and part of my own reasoning for that is narrative driven, but I could also tell you how it showcases on the album musically, and I'd much rather read a think piece or watch a round table discussion on Lana as an artist vs as a social media figure where they rake her over the coals than try to figure out what bits of what she's said had any quantifiable impact on how they viewed the record as a listener and reviewer 
 
Anyway, music criticism is so subjective it shouldn't matter in the first place so enjoy what you enjoy

Sirens, AKA, BTD, Paradise, Ultraviolence, Honeymoon, Lust for Life, Norman Fucking Rockwell, COCC, duh 

My problem with the p4k review is that large parts of it could have been written just by knowing the title of the record and would have better served as think pieces about her post QFTC, post Annie Mac, etc. and not as part of an album review.
 
It's fine to say that Lana's public image has gone south or for the worse, or that you personally cannot 'stan' or condone her comments, actions anymore, and even for it to complicate the music because its hard to separate Art from Artist (and also worth asking if thats even an admirable goal in the first place!). I think those are totally valid responses to whats happened in the last year.
 
Its just that it makes the review and subsequent score sound like an arbitrary downgrade from NFR, not because of the music, but because its less easy to paint a 'next best american songwriter' narrative for her because she's more complicated now. It's not that Jack and Lana made some slip ups in the production, some of the lyrics could be better, some of the music isn't as good, etc. - Its just about the narrative, and while narrative driven reviews may be the most powerful and affirming to people (positive or negative), I really think they're lacking in substance when they are such a large part of the review. If I look back at the NFR review, besides it giving a score that fit the words, it also is just as much substantively about the music, and why the narrative *is palpable because of the musical elements* as it does talk a big game about what the album 'means', and its a much better review for it.
 
So you think Lana's a racist or misinformed or whatever. Let's accept that. How does that actually impact the music? This review doesnt do a good job of telling me this beyond 'it kind of makes it feel worse/less okay to root for her' vaguely. I actually DO think COCC is like a 7.5-8.2/10 range, and part of my own reasoning for that is narrative driven, but I could also tell you how it showcases on the album musically, and I'd much rather read a think piece or watch a round table discussion on Lana as an artist vs as a social media figure where they rake her over the coals than try to figure out what bits of what she's said had any quantifiable impact on how they viewed the record as a listener and reviewer 
 
Anyway, music criticism is so subjective it shouldn't matter in the first place so enjoy what you enjoy

i hope this is not the thing lana was planning to do for years

My problem with the p4k review is that large parts of it could have been written just by knowing the title of the record and would have better served as think pieces about her post QFTC, post Annie Mac, etc. and not as part of an album review.
 
It's fine to say that Lana's public image has gone south or for the worse, or that you personally cannot 'stan' or condone her comments, actions anymore, and even for it to complicate the music because its hard to separate Art from Artist (and also worth asking if thats even an admirable goal in the first place!). I think those are totally valid responses to whats happened in the last year.
 
Its just that it makes the review and subsequent score sound like an arbitrary downgrade from NFR, not because of the music, but because its less easy to paint a 'next best american songwriter' narrative for her because she's more complicated now. It's not that Jack and Lana made some slip ups in the production, some of the lyrics could be better, some of the music isn't as good, etc. - Its just about the narrative, and while narrative driven reviews may be the most powerful and affirming to people (positive or negative), I really think they're lacking in substance when they are such a large part of the review. If I look back at the NFR review, besides it giving a score that fit the words, it also is just as much substantively about the music, and why the narrative *is palpable because of the musical elements* as it does talk a big game about what the album 'means', and its a much better review for it.
 
So you think Lana's a racist or misinformed or whatever. Let's accept that. How does that actually impact the music? This review doesnt do a good job of telling me this beyond 'it kind of makes it feel worse/less okay to root for her' vaguely. I actually DO think COCC is like a 7.5-8.2/10 range, and part of my own reasoning for that is narrative driven, but I could also tell you how it showcases on the album musically, and I'd much rather read a think piece or watch a round table discussion on Lana as an artist vs as a social media figure where they rake her over the coals than try to figure out what bits of what she's said had any quantifiable impact on how they viewed the record as a listener and reviewer 
 
Anyway, music criticism is so subjective it shouldn't matter in the first place so enjoy what you enjoy

My problem with the p4k review is that large parts of it could have been written just by knowing the title of the record and would have better served as think pieces about her post QFTC, post Annie Mac, etc. and not as part of an album review.
 
It's fine to say that Lana's public image has gone south or for the worse, or that you personally cannot 'stan' or condone her comments, actions anymore, and even for it to complicate the music because its hard to separate Art from Artist (and also worth asking if thats even an admirable goal in the first place!). I think those are totally valid responses to whats happened in the last year.
 
Its just that it makes the review and subsequent score sound like an arbitrary downgrade from NFR, not because of the music, but because its less easy to paint a 'next best american songwriter' narrative for her because she's more complicated now. It's not that Jack and Lana made some slip ups in the production, some of the lyrics could be better, some of the music isn't as good, etc. - Its just about the narrative, and while narrative driven reviews may be the most powerful and affirming to people (positive or negative), I really think they're lacking in substance when they are such a large part of the review. If I look back at the NFR review, besides it giving a score that fit the words, it also is just as much substantively about the music, and why the narrative *is palpable because of the musical elements* as it does talk a big game about what the album 'means', and its a much better review for it.
 
So you think Lana's a racist or misinformed or whatever. Let's accept that. How does that actually impact the music? This review doesnt do a good job of telling me this beyond 'it kind of makes it feel worse/less okay to root for her' vaguely. I actually DO think COCC is like a 7.5-8.2/10 range, and part of my own reasoning for that is narrative driven, but I could also tell you how it showcases on the album musically, and I'd much rather read a think piece or watch a round table discussion on Lana as an artist vs as a social media figure where they rake her over the coals than try to figure out what bits of what she's said had any quantifiable impact on how they viewed the record as a listener and reviewer 
 
Anyway, music criticism is so subjective it shouldn't matter in the first place so enjoy what you enjoy

My problem with the p4k review is that large parts of it could have been written just by knowing the title of the record and would have better served as think pieces about her post QFTC, post Annie Mac, etc. and not as part of an album review.
 
It's fine to say that Lana's public image has gone south or for the worse, or that you personally cannot 'stan' or condone her comments, actions anymore, and even for it to complicate the music because its hard to separate Art from Artist (and also worth asking if thats even an admirable goal in the first place!). I think those are totally valid responses to whats happened in the last year.
 
Its just that it makes the review and subsequent score sound like an arbitrary downgrade from NFR, not because of the music, but because its less easy to paint a 'next best american songwriter' narrative for her because she's more complicated now. It's not that Jack and Lana made some slip ups in the production, some of the lyrics could be better, some of the music isn't as good, etc. - Its just about the narrative, and while narrative driven reviews may be the most powerful and affirming to people (positive or negative), I really think they're lacking in substance when they are such a large part of the review. If I look back at the NFR review, besides it giving a score that fit the words, it also is just as much substantively about the music, and why the narrative *is palpable because of the musical elements* as it does talk a big game about what the album 'means', and its a much better review for it.
 
So you think Lana's a racist or misinformed or whatever. Let's accept that. How does that actually impact the music? This review doesnt do a good job of telling me this beyond 'it kind of makes it feel worse/less okay to root for her' vaguely. I actually DO think COCC is like a 7.5-8.2/10 range, and part of my own reasoning for that is narrative driven, but I could also tell you how it showcases on the album musically, and I'd much rather read a think piece or watch a round table discussion on Lana as an artist vs as a social media figure where they rake her over the coals than try to figure out what bits of what she's said had any quantifiable impact on how they viewed the record as a listener and reviewer 
 
Anyway, music criticism is so subjective it shouldn't matter in the first place so enjoy what you enjoy

My problem with the p4k review is that large parts of it could have been written just by knowing the title of the record and would have better served as think pieces about her post QFTC, post Annie Mac, etc. and not as part of an album review.
 
It's fine to say that Lana's public image has gone south or for the worse, or that you personally cannot 'stan' or condone her comments, actions anymore, and even for it to complicate the music because its hard to separate Art from Artist (and also worth asking if thats even an admirable goal in the first place!). I think those are totally valid responses to whats happened in the last year.
 
Its just that it makes the review and subsequent score sound like an arbitrary downgrade from NFR, not because of the music, but because its less easy to paint a 'next best american songwriter' narrative for her because she's more complicated now. It's not that Jack and Lana made some slip ups in the production, some of the lyrics could be better, some of the music isn't as good, etc. - Its just about the narrative, and while narrative driven reviews may be the most powerful and affirming to people (positive or negative), I really think they're lacking in substance when they are such a large part of the review. If I look back at the NFR review, besides it giving a score that fit the words, it also is just as much substantively about the music, and why the narrative *is palpable because of the musical elements* as it does talk a big game about what the album 'means', and its a much better review for it.
 
So you think Lana's a racist or misinformed or whatever. Let's accept that. How does that actually impact the music? This review doesnt do a good job of telling me this beyond 'it kind of makes it feel worse/less okay to root for her' vaguely. I actually DO think COCC is like a 7.5-8.2/10 range, and part of my own reasoning for that is narrative driven, but I could also tell you how it showcases on the album musically, and I'd much rather read a think piece or watch a round table discussion on Lana as an artist vs as a social media figure where they rake her over the coals than try to figure out what bits of what she's said had any quantifiable impact on how they viewed the record as a listener and reviewer 
 
Anyway, music criticism is so subjective it shouldn't matter in the first place so enjoy what you enjoy

My problem with the p4k review is that large parts of it could have been written just by knowing the title of the record and would have better served as think pieces about her post QFTC, post Annie Mac, etc. and not as part of an album review.
 
It's fine to say that Lana's public image has gone south or for the worse, or that you personally cannot 'stan' or condone her comments, actions anymore, and even for it to complicate the music because its hard to separate Art from Artist (and also worth asking if thats even an admirable goal in the first place!). I think those are totally valid responses to whats happened in the last year.
 
Its just that it makes the review and subsequent score sound like an arbitrary downgrade from NFR, not because of the music, but because its less easy to paint a 'next best american songwriter' narrative for her because she's more complicated now. It's not that Jack and Lana made some slip ups in the production, some of the lyrics could be better, some of the music isn't as good, etc. - Its just about the narrative, and while narrative driven reviews may be the most powerful and affirming to people (positive or negative), I really think they're lacking in substance when they are such a large part of the review. If I look back at the NFR review, besides it giving a score that fit the words, it also is just as much substantively about the music, and why the narrative *is palpable because of the musical elements* as it does talk a big game about what the album 'means', and its a much better review for it.
 
So you think Lana's a racist or misinformed or whatever. Let's accept that. How does that actually impact the music? This review doesnt do a good job of telling me this beyond 'it kind of makes it feel worse/less okay to root for her' vaguely. I actually DO think COCC is like a 7.5-8.2/10 range, and part of my own reasoning for that is narrative driven, but I could also tell you how it showcases on the album musically, and I'd much rather read a think piece or watch a round table discussion on Lana as an artist vs as a social media figure where they rake her over the coals than try to figure out what bits of what she's said had any quantifiable impact on how they viewed the record as a listener and reviewer 
 
Anyway, music criticism is so subjective it shouldn't matter in the first place so enjoy what you enjoy

My problem with the p4k review is that large parts of it could have been written just by knowing the title of the record and would have better served as think pieces about her post QFTC, post Annie Mac, etc. and not as part of an album review.
 
It's fine to say that Lana's public image has gone south or for the worse, or that you personally cannot 'stan' or condone her comments, actions anymore, and even for it to complicate the music because its hard to separate Art from Artist (and also worth asking if thats even an admirable goal in the first place!). I think those are totally valid responses to whats happened in the last year.
 
Its just that it makes the review and subsequent score sound like an arbitrary downgrade from NFR, not because of the music, but because its less easy to paint a 'next best american songwriter' narrative for her because she's more complicated now. It's not that Jack and Lana made some slip ups in the production, some of the lyrics could be better, some of the music isn't as good, etc. - Its just about the narrative, and while narrative driven reviews may be the most powerful and affirming to people (positive or negative), I really think they're lacking in substance when they are such a large part of the review. If I look back at the NFR review, besides it giving a score that fit the words, it also is just as much substantively about the music, and why the narrative *is palpable because of the musical elements* as it does talk a big game about what the album 'means', and its a much better review for it.
 
So you think Lana's a racist or misinformed or whatever. Let's accept that. How does that actually impact the music? This review doesnt do a good job of telling me this beyond 'it kind of makes it feel worse/less okay to root for her' vaguely. I actually DO think COCC is like a 7.5-8.2/10 range, and part of my own reasoning for that is narrative driven, but I could also tell you how it showcases on the album musically, and I'd much rather read a think piece or watch a round table discussion on Lana as an artist vs as a social media figure where they rake her over the coals than try to figure out what bits of what she's said had any quantifiable impact on how they viewed the record as a listener and reviewer 
 
Anyway, music criticism is so subjective it shouldn't matter in the first place so enjoy what you enjoy

Sirens, AKA, BTD, Paradise, Ultraviolence, Honeymoon, Lust for Life, Norman Fucking Rockwell, COCC, duh 

That Telegraph review is excellent. It felt like someone summarizing my feelings on the album.

Sirens, AKA, BTD, Paradise, Ultraviolence, Honeymoon, Lust for Life, Norman Fucking Rockwell, COCC, duh