delreyfreak

Just listened to it for the first time. It's nice, but doesn't really stand out to me. It sounds like a song that was recorded for BTD, but was ultimately shelved. Like it didn't quite make the cut for the bonus tracks. I feel pretty indifferent to it right now and don't really see it as a song I would listen to often. Maybe it will grow on me? Who knows.

I feel such an hypocrite because I complain so much about Emile's production but I probably listened this song 100 times already 

It's wonderful and a huge grower. When I first heard it, I feel like her vocals were kinda bad honestly. Second verse esp...It's like there's no melody and she's forcing it out.
 
Now, my ears are "used to it" it sounds way better now...nothing wrong at all with the production just her vocal delivery is weird in places. 
 
I actually really love the chorus because it reminds me of the effortless ness of BTD. Vocal delivery on that album is just effortless. On UV..her vocals sound forced and this too.
 
Also i wish there's a beat but there's none. I want a beat like in a Kiss Goodbye. This song is "ROCKish" once again.
 
This is kinda off topic: Beated Brooklyn Baby slays so hard..I really wish Lana would go back to hip hop..Her songs are ten times better with a beat imo.
 
https://soundcloud.com/sbvce/lana-del-ray-brooklyn-baby-sad-girl-trap-sbc-remix-super-new

I've decided it's very boring. Pretty, but just....not that interesting.

Things I like about this song:
The clear vocals! Bless! It's so nice to hear Lana's voice without all the reverberation. The typical melancholy tone. So beautiful. The "animal noises" as you guys like the call them. Lana's vocal range is extremely impressive. That Hawaiian-esque introduction with the strings and Lana's humming is beautiful. Slaying me each time I listen.  
Things I do not like about this song:
It seems a bit recycled (a la loon and basic Emile production) but I think it's gorgeous nonetheless. The lack of power in the chorus beside the lonely line. I feel like Lana doesn't exactly sounds as desperate as the lyrics describe (I wait for life to win but it never comes around... doesn't sound very convincing in the tone she sings.)

It doesn't do anything for me..
Everyone knows how much I love the loon, but it just sounds thrown-in to me. The song doesn't sound nearly as exciting, dramatic, or emotional as most other songs from BTD. Emile and Lana can both do better. Maybe I will grow to like it more, but it just feels bland.

Lana does the high wails very well on many occasions, particularly the best performances of MDM in New Orleans and in Paris when she sounds like a genuine jazz singer. I love the ones that sound like the end of the Off to the Races or Cola as well...she does that quite frequently. 

I died when I heard the loon. I started liking it ironically but now I like it unironically. Ah, the majestic loon. If Emile Haynie produces a song and there's no loon on it, does it really exist?
 
Lana's dying animal noises at the bridge got me in a bad way, but I like the verses. Maybe that's what she thinks jazz singers sing like, since she does the same thing for Million Dollar Man live. It's less bad here, though, so maybe I'll get used to it. The chorus is underwhelming, but maybe it's a grower. I used to dislike Blue Jeans, so...
 
In any case, I'm glad we have this. A little gift for Emile Haynie fans here. Now deliver on Last Song and Riverside and we'll be home free, Lana. 

Not completely sold on this yet but maybe a grower.

I agree and disagree in some parts but this is 10000000000x better than UV. I'm sorry

After giving it a proper listen (had it on repeat for like an hour last night ) I realized this is a step back for Emile. I fell in love with Falling Apart, and along with A Kiss Goodbye it was an indicator of growth in his style so I had high hopes for W84L. But it's like he's got a formula for Lana and he's not quitting it any time soon: the same beat, strings, chords and the omnipresent loon he overused in BTD... I love the Hawaiian intro and the bridge, but the rest of the song is just okay.
But hey we've been critizing a lot lately, let's put that aside and simply sway to the music like Lana taught us

Haynie put the song on YouTube/VEVO as "Wait For Life (Audio)"
 
It's been far too long since we've gotten a new Lana music video.

I bought it in iTunes and it says that the composers are Emile and Lana. So yeah she wrote it too.

@ the return of the infamous kettle whistle.

Apart from the beautiful bridge in WFL I felt that this was a pretty average tbh. I like the fact that she is starting to become critical towards her lovers which is refreshing (I'm all in for critical/vengeful Lana ). It just feels imo that wait for life sounds like a bonus track form BTD. Its nothing special but neither is it awful.

Mm the only issue I have with this song is that she sounds bored most of the time idk maybe even when the lyrics are 110% Lana she wasnt feeling them but other than that I think it's beautiful. The production is really great imo.

...Dick?
 
EDIT: OMG you edited right as I replied #wavelength

I like your ultraviolent swing.

Every time I come to this thread there's ten more pages of pointless arguments. (you guys don't have that gif of New York rubbing her temples?)
Once we get actual news, it'll be in one of the seven pages I skip over.

I thought it might be useful to dedicate one thread to the early tidbits of info we are getting about Lana'a up-coming fourth studio album.

Here's what we have thus far:
 
Interview for The Fader:
I’m a big jazz aficionado. Hopefully my next foray will be into jazz. I feel like I’m getting there with songs like ‘Shades of Cool’ and ‘Cruel World’ and a cover of ‘The Other Woman’ by Nina Simone. I’m inching towards what I really love, which is kind of a Chet Baker, Nina Simone-inspired sound. It’s hard to get that sound because you need great jazz musicians. 
 
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http://lizzydelgrant.tumblr.com/post/90085038067

Interviewer: You will record something tonight, do you know what it is, or right now?

Lana: I do, yeah I do. I have this idea for this record called "Music to Watch Boys To," so. Yeah, I'm just kind of thinking about that and what that would mean [laughs].

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Interview for Galore Magazine:

Are you working on anything new?
Yeah, I just wrote two songs for Tim Burton and Harvey Weinstein’s film called Big Eyes and I’m working on a new record. I’m also always writing small pieces for independent films etc. Dan Heath and Rick Nowels are two of my dearest friends and producers and we are always up to something.

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Interview for Grazia Magazine

What is your state of mind now?
I’m afraid this album will be forgotten. I’m always afraid good things will be forgotten, burried. Musically, I’m still looking for something different, with majestic choruses, beautiful orchestrations, a type of 50s vibe with a bit of soft grunge. Since march, I’ve been writing a lot of new songs, in a more conventional way -the verses, then the refrain, with a strong jazzy influence. I’m having a lot of fun with all of that. And next year, I’ll tour across the USA. I’ve been doing it only once before and I was really moved, especially in Detroit where I could feel the weight of its History. So, that’s why I decided I wanted to do it again, this time with my friend Courtney Love, for two months. My new album will come out after, maybe for late-august.
Did you writing style change for this next record?
My lyrics are very similar to me, who I truly am, but I must admit that I’m currently trying to do some new things. It’s a bit surrealist, full of colors. I feel much more inspired by people like Mark Ryden, Fellini or Picasso… Oh, I’m totally fond of this documentary: “Fellini : I’m a Born Liar”, which explains that the film-maker was in love with his hometown, and each of his movies is like one of its facets. I like his idea, the fact that truth should never impede to a beautiful lie… (she smiles)

You seem to like evoking the 50s imagery in your songs: the golden age of recording studios, ladies singing late at night with their big band…
Yeah, I love it. I love nightlife, the mood that comes from it. That’s why I wanted to meet Mark Ronson: I played him ten songs I just composed for this next album. Not so much that he added his usual signature, soul and funk, but rather it explores a sound close to the golden age of jazz. I wasn’t even born in the 50s but I feel like I was there. And when I still was living in New York, I was looking for this dream, maybe some other girls had the same, to live as a singer in a jazz club where I could sing some standards, but my own compositions too. I had a very ‘romantic’ vision of what a singer’s life should be. I daydreamed about tours in Europe, just like Chet Baker did, for example.
 
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Billboard Magazine:
 
Lana Del Rey has nine songs written for her next album, titled Honeymoon -- four of which "the production is perfect; I'm looking for a few more songs to tie everything together" -- and thanks to her cinematic new song, she's also in the thick of awards season.
 
Does the Big Eyes song give us any indication of how the new album will sound?
It's very different from the last one and similar to the first two, Born to Die and Paradise. I finished my last one [Ultraviolence] in March and released it in June and I had a follow-up idea. It's growing into something I really like. I'm kind of enjoying sinking into this more noirish feel for this one. It's been good.
You're still writing everything?
I'm doing a cover of "Don't Let Me Be Misunderstood." After doing a cover of [Jessie Mae Robinson's] "The Other Woman," I like summarizing the record with a jazz song. I'm having fun with my interpretation.
I assume you're relying on the Nina Simone versions?
"Don't Let Me Be Misunderstood" and "The Other Woman" are my favorites. I'm so so much [a fan].
---
 
Mark Ronson for Triple J:
http://www.abc.net.au/triplej/media/s4174087.htm
 
Says that he rumors of his involvement with Honeymoon are an "internet thing," but says he has heard "beautiful tracks" and does not want to comment on anything before Lana does. However, he says that he has not worked on anything (yet?)
 
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The Inquirer:
" I feel that the three records were so heavy and autobiographical. It’s been so cathartic. I like to use my previous work as a jump-off point to do something new. I’m ready to go into more of a ‘Lucy in the Sky With Diamonds’ surrealist place. That’s why I really do like what I heard about Fellini and all of the movies that were overdubbed and the actors were counting and not saying lines. I couldn’t believe that.
 
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Inrockuptibles:
"Everybody has asked why I wanted to end Ultraviolence by a cover of The Other Woman by Nina Simone. Because she says everything, because I love jazz and may be because it could a door for what could be the next album."
 
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Mark Ronson for Interview Magazine:
 
"Q-TIP: What are you doing in L.A.?
Mark RONSON: I'm going to do some recording with Lana Del Rey today and tomorrow. I found this cool old studio out here. 

Q-TIP: Are you producing? 

RONSON: I don't know. She has some songs and I said I had some demo ideas, and if they are any good, then maybe she'll like them and we'll go from there. "
 
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On Instagram:

 
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Video from tour saying that the record will be released in September:
https://twitter.com/LanaDeIReyDaily/status/602515526649163776
 
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Honeymoon lyrics found in tour merch:
http://www.nme.com/news/lana-del-rey/85451?utm_source=twitter&utm_medium=social&utm_campaign=lanadelrey

I understand that not many people like Lucky Ones, but Burning Desire is magnificent and EVERYONE on this forum will deal with it, ok? Ok.
 

 
 
 

I like the fact that she doesn't feature people. Also, Emile better be on the album. I absolutely adore his production.
 
I'm fine with bonus tracks as long as they aren't like Guns and Roses, Burning Desire and Lucky Ones. Never liked those.

Lorde? Adele? Taylor Swift? Iggy Azalea? ( )

love yourself

In the meantime