Embach

I think that early she started writing songs which started to question everything:
Lust For Life demo - questions about her fame
Heroin - questions about her life and life in general
Get Free - questions about her future
13 Beaches - questions about relationships/fame
Architecture - questions about her ex/past
 
Later she wrote kind of songs that are more anxious and doubtful and also wanting to be hopeful:
Cherry, Change, War, Tomorrow, White Mustang, In My Feelings, Coachella, Lust For Life, Summer Bummer, Beautiful People/Problems.
 
Then there are songs that outside look positive but inside are sad:
Love (just accepting things they way they are), Groupie Love (trying to live with fame), God Bless America (trying to live alone).
 
Of course this is my interpretation. But this is the way I have always seen the album.

These are from March 19th, 2016. I believe she was recording Malibu/Get Free there because then a week ago, she was in Malibu. Although maybe she was recording Love because she met Emile Haynie few days before that.
 

I don't think so because I believe she stopped working with Rick in December 2017/January 2018 because right after she started working non-stop with Jack.

Didn't Jack Antonoff also mention that those bombastic NFR outtakes are girl-group tracks like The Shangri-Las?

Also, I know it's some kind of a sensitive topic she touched in Fingertips and The Grants but
 

When Coachella was released, I loved it so much (I still love it, one of my favorites, I'm probably the only fan of the song) and the whole time I listened to the song, there were like hate comments everywhere.
 
I do find the song kind of "unusual" but it doesn't mean it's bad. I'd like to add some strings to the song though 

Ok, let me handle it.
 
I'm certain that my following unoopular opinion/theory is (very) controversial AND LONG! 
 
The so-called "witchy dreamy spacey cosmic folky psychedelic ambient" original concept is a myth. I don't think that the "witchiness" was even the goal for the album. I have also thought that Lana wasn't really certain either what she wanted for the album. Once in 2015 she talked about her thoughts on the new album "like a New York record, less dreamy and more upbeat". Then in 2016 (at the Pre-Grammy Gala?) she said that the upcoming album will have a similar aesthetic with Honeymoon, although in February 2017 Insta livestream she said that LFL will have a retro-futuristic aesthetic. But the album has also Woodstock/1960s-70s hippie aesthetics which are also seen on the album cover which was shot already in June/July 2016 (the hippie-peace inspired looks were also seen in the Festival Tour 2016). Also at first she made some Shangri-Las inspired songs, then after Donald Trump's victory in November 2016, she started to make more politically oriented songs. Also to think that in 2016 she made electro-pop version of Say Yes To Heaven. Then she also was in relationship with G-Eazy in Spring 2017 which in result she started to make more songs. In an interview with a radio in early 2017, she (and later in an another interview Rick Nowels) also said that the album will be mix of everything, that will have different genres. It's either two options:
 
• she was unsure what to do with the album
• it was intentional and I believe this theory more, because you can see that the album's sound has mix from the sound of her old eras (baroque pop, dream pop, hip-hop, trap, trip hop) and the sound of her upcoming/newer sound (folk, acoustic ballads, folktronica, Americana) which are seen in NFR, COTCC and so on. The collaborations were 100% intentional because Abel and Rocky were important people in the start of her breakthrough and Nicks/Lennon are kind of her idols, so she wanted to show people where is she heading to. That's why she later dedicated to the fans because she was saying goodbye to her "old-self", her old sound. I feel like that was kind of her point the whole time.

From BOZ website about Say Yes To Heaven:

"That was until 2016 sessions for Lust For Life welcomed a bunch of producers invited to help Lana curate her new vision of more modern soundscape for the record. One of them, Fred Gibson (better known as Fred again...) joined the already long list of people taking their shot at perfecting Say Yes To Heaven. Although his contribution to Lust For Life era ended up being scrapped altogether, the song got richer in brand new version, this time more electronic and upbeat."

Does this mean that other songs (besides SYTH), Fred Gibson and Lana made together in the LFL sessions got scrapped too? Or did he only do SYTH? 
 
Also, I'm confused about that: "her new vision of more modern soundscape for the record" - does the record mean as song like Say Yes To Heaven or as album like Lust For Life?

That’s what I thought as well. From the beginning I’m quiet sure there isn’t really an aesthetic/environment pinpointing towards a witchy approach among the record. Moreover simply- retrofuturistic. But I do believe the songs started to be more grounded and peaceful in nature story/lyric wise (once again- not the sound)

Ok, let me handle it.
 
I'm certain that my following unoopular opinion/theory is (very) controversial AND LONG! 
 
The so-called "witchy dreamy spacey cosmic folky psychedelic ambient" original concept is a myth. I don't think that the "witchiness" was even the goal for the album. I have also thought that Lana wasn't really certain either what she wanted for the album. Once in 2015 she talked about her thoughts on the new album "like a New York record, less dreamy and more upbeat". Then in 2016 (at the Pre-Grammy Gala?) she said that the upcoming album will have a similar aesthetic with Honeymoon, although in February 2017 Insta livestream she said that LFL will have a retro-futuristic aesthetic. But the album has also Woodstock/1960s-70s hippie aesthetics which are also seen on the album cover which was shot already in June/July 2016 (the hippie-peace inspired looks were also seen in the Festival Tour 2016). Also at first she made some Shangri-Las inspired songs, then after Donald Trump's victory in November 2016, she started to make more politically oriented songs. Also to think that in 2016 she made electro-pop version of Say Yes To Heaven. Then she also was in relationship with G-Eazy in Spring 2017 which in result she started to make more songs. In an interview with a radio in early 2017, she (and later in an another interview Rick Nowels) also said that the album will be mix of everything, that will have different genres. It's either two options:
 
• she was unsure what to do with the album
• it was intentional and I believe this theory more, because you can see that the album's sound has mix from the sound of her old eras (baroque pop, dream pop, hip-hop, trap, trip hop) and the sound of her upcoming/newer sound (folk, acoustic ballads, folktronica, Americana) which are seen in NFR, COTCC and so on. The collaborations were 100% intentional because Abel and Rocky were important people in the start of her breakthrough and Nicks/Lennon are kind of her idols, so she wanted to show people where is she heading to. That's why she later dedicated to the fans because she was saying goodbye to her "old-self", her old sound. I feel like that was kind of her point the whole time.

I don't know if any of you care about this or have seen this but I think it's a fitting thread to post this. It's the composite screen of Lust For Life title track with its 129 mixes/stems. Her mixers Kieron Menzies and Dean Reid shared this photo in an interview where they discussed about LFL album in general.

We might have Hope Is A Dangerous Thing demo from Honeymoon era and/or Lust For Life era because I remember in an interview from December 2018, Lana said that she had written Hope for 3 years.

Ok, let me handle it.
 
I'm certain that my following unoopular opinion/theory is (very) controversial AND LONG! 
 
The so-called "witchy dreamy spacey cosmic folky psychedelic ambient" original concept is a myth. I don't think that the "witchiness" was even the goal for the album. I have also thought that Lana wasn't really certain either what she wanted for the album. Once in 2015 she talked about her thoughts on the new album "like a New York record, less dreamy and more upbeat". Then in 2016 (at the Pre-Grammy Gala?) she said that the upcoming album will have a similar aesthetic with Honeymoon, although in February 2017 Insta livestream she said that LFL will have a retro-futuristic aesthetic. But the album has also Woodstock/1960s-70s hippie aesthetics which are also seen on the album cover which was shot already in June/July 2016 (the hippie-peace inspired looks were also seen in the Festival Tour 2016). Also at first she made some Shangri-Las inspired songs, then after Donald Trump's victory in November 2016, she started to make more politically oriented songs. Also to think that in 2016 she made electro-pop version of Say Yes To Heaven. Then she also was in relationship with G-Eazy in Spring 2017 which in result she started to make more songs. In an interview with a radio in early 2017, she (and later in an another interview Rick Nowels) also said that the album will be mix of everything, that will have different genres. It's either two options:
 
• she was unsure what to do with the album
• it was intentional and I believe this theory more, because you can see that the album's sound has mix from the sound of her old eras (baroque pop, dream pop, hip-hop, trap, trip hop) and the sound of her upcoming/newer sound (folk, acoustic ballads, folktronica, Americana) which are seen in NFR, COTCC and so on. The collaborations were 100% intentional because Abel and Rocky were important people in the start of her breakthrough and Nicks/Lennon are kind of her idols, so she wanted to show people where is she heading to. That's why she later dedicated to the fans because she was saying goodbye to her "old-self", her old sound. I feel like that was kind of her point the whole time.

I don't know if any of you care about this or have seen this but I think it's a fitting thread to post this. It's the composite screen of Lust For Life title track with its 129 mixes/stems. Her mixers Kieron Menzies and Dean Reid shared this photo in an interview where they discussed about LFL album in general.

Lana songs aren't really that scary for me but if there's a song (and video) that has creepy vibes then it's probably the 2007 live version of Brite Lites. The loud horror-like guitar and the red low quality video makes it look like it's from the dark web which went viral in the late 2000s and people started making creepypastas of it.
Not gonna lie, I love it actually, even if the guitar sounds weird 
 

Lana songs aren't really that scary for me but if there's a song (and video) that has creepy vibes then it's probably the 2007 live version of Brite Lites. The loud horror-like guitar and the red low quality video makes it look like it's from the dark web which went viral in the late 2000s and people started making creepypastas of it.
Not gonna lie, I love it actually, even if the guitar sounds weird 
 

Lana songs aren't really that scary for me but if there's a song (and video) that has creepy vibes then it's probably the 2007 live version of Brite Lites. The loud horror-like guitar and the red low quality video makes it look like it's from the dark web which went viral in the late 2000s and people started making creepypastas of it.
Not gonna lie, I love it actually, even if the guitar sounds weird 
 

Lana songs aren't really that scary for me but if there's a song (and video) that has creepy vibes then it's probably the 2007 live version of Brite Lites. The loud horror-like guitar and the red low quality video makes it look like it's from the dark web which went viral in the late 2000s and people started making creepypastas of it.
Not gonna lie, I love it actually, even if the guitar sounds weird 
 

I don't know if any of you care about this or have seen this but I think it's a fitting thread to post this. It's the composite screen of Lust For Life title track with its 129 mixes/stems. Her mixers Kieron Menzies and Dean Reid shared this photo in an interview where they discussed about LFL album in general.

Or RBFY

yeah that is such an interesting article, heres the full thing if anybody hasnt seen https://www.soundonsound.com/techniques/inside-track-lana-del-rey-lust-life?amp

I'm pretty sure? He was the one who played the synths too.

I remember that too but im fairly sure she hasnt recorded it until fully written and the first version was at 29 january 2018, but I would die to hear the lfl version if theres one

I'm pretty sure? He was the one who played the synths too.