blackenedrussianpoetry

i think lana is gonna be absolutely over the moon with this  wow. if you write like a living legend, sing like a living legend, are treated like a living legend and are revered by living legends... you're probably a living legend 

apparently patti said that this song reminds her of her dead husband  she was crying while singing it

A better setlist  I really think Cruel World would be a crazy closer... imagine the outro! Imagine the drums around 6:20 - 6:29 of the song (you can hear them if you turn up the volume loud enough and/or listen closely) as the final sounds of the show. It would be so cool. 

i been preaching for years about how lana IS a new religion
"new kind of porno, one that has yet been born-o"  line from resistance......
 
porn = sex    birth = result of sex
 
all her music is code for a new modern form of zen buddhism i can go for hours if you are itnerested
 
 
born to die               lust for life
burn to die               lost for life
 
a Hole song called "Whose porno you burn"  relates direct;y to heart shaped box by nirvana
when lana covered heart shaped box it was her most pwoerful vocals ever
 
nirvana is a buddhist term, hole = emptyness = opposite of nirvana
 
frontwoman of hole and frontmaqn of nirvana were married and there lyrics combined are a perfect precursor to Lanas lyrics

Just opened the live and it's playing BPBP and she's taking selfied and stuff... it's so emotional because she feels happy or idk at least connected. Makes me think of everything she spoke about on the Pitchfork interview (It really caught my attention the bit about Terrence Loves You and the way she felt sorry for herself)...
 
I hope she's happy. It's what she deserves 

wait... 
 

 

I need her to rework Lake Placid and turn it into a country song.

Let The Light In - 84
A&W - 76
Candy Necklace - 0   OUT!

Bartender always gives me Lizzy Grant vibes, and I wasn't sure why, for a while, but I think I've figured it out -- it's very much written in her Lizzy Grant mode. Excuse the following spill, but I'm an English major and I can't help myself
 
The fact that the Lizzy Grant era fell between the very different writing styles of the May Jailer/Lizzi era and the LDR era makes it an odd mix of both -- it's partially slice-of-life, confessional lyrics, akin to a track like Blizzard, but it's also got a heightened, unreal edge, which Lana would ~fully~ embrace by the time Born to Die rolled around, where her lyrics became less about telling straightforward stories and more about loftier sets of ideas, imagery, and emotion.
 
For example, take the trio of Drive By, Kill Kill, and Dark Paradise, all connected by the theme of the "dying man."
 
Drive By is Lizzi telling us a story, with few frills and few digressions, but plenty of details -- K is her friend, K killed someone, and K is serving time. It's sung basically as it would be told, save for her questions posed to K in the choruses, and the rhymes between lines -- and that's part of the charm of the May Jailer recordings; for the most part, they're simple and unadorned and seemingly pretty apt documents of what Lizzi Grant was feeling and thinking in 2005. 
 
Skip ahead to Dark Paradise, and you see what's almost a full 180: the story is mostly to be inferred -- all the listener knows (context about Lana's larger body of lyrics and her life put aside) is that Lana's lover is ostensibly dead, and she can't deal with his absence. It's not not a story, but it's far from the detailed account given in Drive By, spelled out down to the number of years K is going to serve. Another striking contrast is that Dark Paradise brims with artistic lyrical devices, as opposed to the plain quality of Drive By -- so much so that it reads as pretty melodramatic, what with all the grandiose death metaphors and ghostly images.
 
Then, you look at Kill Kill, written right in the middle of the two other tracks. There's still a defined sense of storytelling and a slice-of-life, confessional quality held over from the May Jailer era: Lizzy is "in love with a dying man," he "bounds up the stairs" while she's "in the shower," she asks her lover to "tell [her] about Ray and his girl," because "Ray is going to meet [him]." There's nothing inherently artistic about these lyrics; they could just as easily come from a conversation as they could from a song, just like in Drive By. However, Lizzy uses this grounded base to lay her more oblique and artful lyrics on, with lines like "stars fade from your eyes" or the cryptic bridge of "One, two/Make it fun/Don't trust anyone." There's definitely a story here -- the heroine is leaving her dying beau -- as there was in the May Jailer era, but it's as if we've only been privy to snippets of the story: who is Ray, and why is the dying man meeting him? Why is Lizzy leaving her lover? How does the bridge relate -- who mistrusts who, and who's playing the situation like a game?
 
Therefore, a song like Kill Kill -- and much else of the Lizzy Grant canon -- succeeds because of this blend: the listener is given pieces of a story, modified by occasional cryptic phrases and florid lines, that creates lyrics that feel real, but also decidedly off-kilter and unreal. I think the best comparison really is David Lynch, who presents realities that are recognizable, but just strange and off-beat enough that an unsettling, unusual atmosphere is created. 
 
So, for a long time, I think Lana had mostly moved out of this mode of writing -- Born to Die through Lust for Life feel to me like they're in the same vein, with the balance moving more towards the emotion and conceptuality present in her lyrics, with little definite story -- hence the rise of Lanalysis that sought to attach more definite stories to her songs by making connections to her personal life. 
 
However, NFR!, I think, represents something of a return to form -- it's not identical to the Lizzy Grant style of writing, because the songs certainly feel somewhat more grounded in reality than her LG works, but it's much closer to that style than anything she's released in a very long time. It sees her acting as a storyteller again, first and foremost, and using those stories as a base for the larger emotions and ideas she wants to express, rather than flipping that around and using vague stories to connect her emotions. (Of course, this isn't to say that that means of writing isn't great -- it's responsible for Lana's golden age, and without it, we wouldn't have the same quintessential LDR persona and era.) 
 
This is all lead-up to say that I think Bartender is a track that exemplifies this matured form of the Lizzy Grant writing style: the story is present, based in reality, and has a confessional air, with Lana intimating her quests to meet her lover and avoid the paparazzi, along with day-in-the-life descriptions of her exploits with her girlfriends. However, as she did then, she modifies this story with an edge of surreality and drama: the "ladies of the canyon" are "dressed in black" or "dressed in white" and play "games of levitation," her conquests to avoid being photographed are framed as "the little game that we play," and she, somewhat sinisterly, compares the poetry she thinks up to a warm gun, resting inside her. It's all based in her real life, but is told with just enough unreality to be incredibly intriguing.
 
In essence, she's once again balanced her songwriting bents: the straight storytelling she began with, and the grand melodrama she became famous with -- and what she's doing now is not at all unlike the transition period that was the Lizzy Grant era. 
 
And, did I mention how much I love that? 

I love this song. It's not like one of my favorite songs but it's kinda one of those easy listening lo-fi type of songs you can listen to while driving or studying or working or knitting or cooking. That's how I feel with most COTCC songs honestly and that's in the most positive way as possible. 

This is kinda wild to see in a post-ocean blvd society because you described fingertips in a nutshell two years before it even came out 

Roadhouse Blues cover confirmed 

bambi

So do I! It's completely part of Lana's official discography as far as I'm concerned. I have it on my Lana playlist in between Honeymoon and LFL. It's one of the sad songs I listen to when I want to listen to sad music.
With it not being on streaming though, I wouldn't be surprised if a lot of the newer fans from the past few years have no idea it even exists

It's one of my top 25 favourite songs in her whole discography. The way she sings it with so much emotion makes it seem like she could've written it. I'll always love this song so much with some bittersweet memories tied to it x

this cover is genuinely lifechanging - so glad to see it get the credit it deserves

It doesn't surprise me considering they've worked with a lot of the same people (Jeff Bhasker, Jonathan Wilson, Björn Yttling, Greg Kurstin, some of her tracks leaked from ricknowels.com ) 
If I recall correctly, the original title of the original Lana thread (RIP) on SIN compared Lana to Lykke Li, Sky Ferreira, and Paloma Faith.
 
This also reminds me of this Facebook exchange:

 
This is the YouTube video referenced in that post:

OH NO NO NO...
I'm actually so scared of this version....it's sooo so so sad...

Doesn’t matter if you’re a mm-mm-mm
Da da, da-da-da, da-da, da-da, da-da-da-da
Mhm
 

I love piano ballads, but hearing drums in this song is extremely... comforting 

this reminds me of when she debuted Cherry in LA at the KROQ Weenie Roast concert and then we didn’t hear anything about it for like 3 months.

Why are we losing hope? It's Lana, this could be released any day of the week at any time. They tagged Boston in the Tough Reel because they are going to perform it live together and announce its release date. 

I hate that they could perform the whole of grants in this time but they do verse 1 + recite the same line 50 times instead

Manifesting in vain that she finally performs the outro to The Grants