annedauphine

Omg!!! I just came back from picking up your drawing, it arrived in perfect state, I'm so extremely excited!!!!!

I've listened to Salvatore compulsively on a loop for the past 3h I can't get over it it feels like an umbilical cord bonds me to it. I'm so fucking happy because I had a feeling it would be my fav and it is. I can't describe the vibe of it I don't know if it's happy or sad or nostalgic or melancholic, the rhythm lulls me and there is a universe of references that rush in my head when the chorus starts, my favourite part is when she first say limousines in the first chorus. It feels like meeting an old friend again, as if this song was always meant to be created. The energy of it is extremely peculiar, it's dark it's sarcastic it's empowering as hell, it's poetic, it's everything I ever longed for, it's extremely beautiful, it's an immense masterpiece
 
Edit: I can't stop talking about it, I want to add that the production is absolutely flawless and that it depicts exactly the kind of vibe I would love to have at the very end of my wedding party, when'll I'll be alone with my SO in my wedding dress, at 5am, alone in the world in the dark, slowly dancing while this song explodes in the background, it makes me so happy

HOW DID I MISSED THIS THREAD I'M CRYING GOD IS REAL I'M SO GAY I LOVE HER

I've listened to Salvatore compulsively on a loop for the past 3h I can't get over it it feels like an umbilical cord bonds me to it. I'm so fucking happy because I had a feeling it would be my fav and it is. I can't describe the vibe of it I don't know if it's happy or sad or nostalgic or melancholic, the rhythm lulls me and there is a universe of references that rush in my head when the chorus starts, my favourite part is when she first say limousines in the first chorus. It feels like meeting an old friend again, as if this song was always meant to be created. The energy of it is extremely peculiar, it's dark it's sarcastic it's empowering as hell, it's poetic, it's everything I ever longed for, it's extremely beautiful, it's an immense masterpiece
 
Edit: I can't stop talking about it, I want to add that the production is absolutely flawless and that it depicts exactly the kind of vibe I would love to have at the very end of my wedding party, when'll I'll be alone with my SO in my wedding dress, at 5am, alone in the world in the dark, slowly dancing while this song explodes in the background, it makes me so happy

I couldn't respectfully disagree more. I think the lyrics of HM are so much more powerful and empowering than BTD's one. I think it's also because I grew up, and I now much more relate to the mature lyrics of HM than the cheesy-in-a-good-way lyrics of BTD. It's not the same themes at all either, and it's really an unpopular opinion but I'm truly delighted by Lana's writing on this album. BTD has some gems of writing, VG BJ OTTR, but this album's writing quality is much more cohesive imho, as a whole, which is peculiar to this particular album. I most definitely understand your view on BTD though, even though I personally don't share it as I prefer Honeymoon Glad this is the direction this thread is going, thank you!

so I'll just ask if I can kiss her

Interview conducted September 4th 2015
 
Pages before the interview (to be updated )
 
Have you ever felt this feeling of being in love, that takes your guts, makes you overturn and leaves you feeling disoriented and distraught, a bit lost, not knowing very well where to place what holds you, what wraps you, makes you drunk and petrifies you at the same time?
  A feeling that often appears when you know you're in love and that you see, in the same time, the object of this love escape, invariably. This is exactly what haunts every song that Lana Del Rey serenely chimes out since several years already, since this moment where her first hits, Video Games or Blue Jeans, seized a public not to let it go, taking it at the heart of romances composed by this young lady of 30yo on a makeshift computer, but nourished by a writing that ceaselessly mixes fiction, reality and autobiography, without ever unveiling itself completely.   Since Video Games, all of Lana's music, every of her lyrics and the slightest notes that composes her songs speak of and evokes only this: love stories seized in singular moments - a dreamy beginning, a raging end. But never at the middle of a story, when tensions (sexual, romantic, intellectual) are soothed or on their way to disappear. In her songs, her voice plays on this register, always stays at the summit of peace but oscillate between the absolute joy of knowing itself of being in a state of being in love and the absolute depression of seeing itself being confronted to the very impossibility of the bond she sings. Lana's voice flirts always with the mystery and what is unexplained - in her or in us?   By mid-summer, she released, in introduction to her new record, a handful of tracks that answers each other, playing on these very feelings. The first, Honeymoon, seems to get an embryo of a story, a bond still full of illusions, romances, desires and blindness - "We make the rules", she sings, adressing herself to another, a lover, like an echo to a breviary very romantic. The world is ours, she says. Nevertheless, the song released a few weeks later, High By The Beach, says the exact contrary. She explores the end of a relation, the disparition of love and the loneliness that follows. The desire of loneliness stronger than everything, at the moment of being done with the other. Destroy, she says. In a few words, she declines the contempt that seized the one, him, her, the doesn't love anymore. Has she seen Godard? Was she thinking of Bardot in Le Mépris? With Lana, nothing surprises, especially not european references, the bonds weaved subrepticely with other arts than music, starting with images, the cinema.   Finally, the third track unveiled at the end of the summer, her favourite it seems, joins like an intimate post-scriptum, giving a new perspective to the story sketched in the two previous tracks. At the heart of this song, Terrence Loves You, she throws this sentence, so cliché elsewhere but so poignant in her mouth: "I lost myself when I lost you". And, as to climb back to something, she also things, in the same breath, this other sentence, "Hollywood legends will never grow old", that says a lot on what obsessed her: the legends, the glamour, the mythical Los Angeles of the 50'. What if Lan, in 2015, was an echo of what Billy Wilder filmed in Sunset Boulevard? The very representation of what it means to be an idol, in her monolithic beauty, her errances, her contradictions and her inherent fragility. What if Lana was the last of these women that made Hollywood? What if Lana, more than a singer, was an actress, the last of mythical Hollywood actresses?     Interview translation by @ no credits to me   In what state of mind did you record this new album?
I started to record it when I was mixing Ultraviolence. The mixing of this album took time, and it was good to start at that moment a new creative process. My mood as really good in the beginning, then it became introverted when I asked myself how to finish this record.

You wanted a record linked to jazz. Did you really conceive it in this way?
I think so. In a certain way, the tracks Honeymoon, Terrence Loves You, God Knows I Tried and the cover of Don’t Let Me Be Misunderstood have a dark blue (   ) colouration and I tried to increase the tempo of the album with the middle tracks, like Freak and Art Deco.

Honeymoon is one of your strongest songs…
It’s one of the first tracks that I wrote for the record and that overwhelmed me right away. The melody and the lyrics of the chorus kept coming back in my head day after day, but I postponed the moment when I would work on the rest, the harmonics… I ended up recording at the studio and it touched my most sensible point right away. I was happy to follow what I felt even if the melody sounded obscure and a bit from the 30s.

Your songs often mention places, avenues. What’s the importance of LA in your writing?
The places that I cite in this new songs are very important to me. Some times I’d like to be less precise, more universal, but I’m really loyal to myself by evoking certain avenues, streets or names of people. Wilshire Boulevard in particular is very dear to me because I often stop there to write. Maybe because it’s one of the largest streets in LA, or maybe because my way is socializing is by driving along a congested boulevard and observing people.

Are High By The Beach and Honeymoon related?
Now that you mention it, Honeymoon was a more personal song in which I thought about my past, I wanted to share some of my favorite places and all of my moments of peace with someone. HBTB is the last song I wrote for the album and tells, deep down, the solitude. I didn’t think that there would be a link between these two tracks but there is one throughout the record, the same melodic atmosphere, specially in the more jazzy tracks.

The literary references are important to you. What writers or artists mattered recently?
Ginsberg inspires me just as much as before, with his free way of writing his thoughts. I love Emily Dickison, Miles Davis, The Moody Blues, Leonard Cohen, most of all, Bob Dylan. Federico Fellini and Picasso too.   TLY and HM are part of your most personal songs. Did you want to dive into deeper feelings? Find other perspectives for your music?
Not really. I rather had the impression that after three records, I had to concentrate on something more surreal, and not be too much intellectual. That being said, the track God Knows I Tried evoke the confusion I felt and TLY touches me more closely. On this record, I think that I was the closest to my emotions.

TLY seems to evoke an evasive memory.
I love the idea of a memory that slowly disappears. It’s really romantic.

You covered Don’t Let Me Be Misunderstood: how does this song fit along with your other covers?
I choose covers that tell either stories parallel to mine, or feelings that I would’ve found hard to express with my own words. Depending on the period of my life, I cover songs that allow me to tell things to other people, or even words that I wanted to hear myself saying to fix some of my problems.

The video for HBTB gives the impression that you are trying to protect yourself of the outside world. Is it the case?
Yes.

What impression do you have about the track you did with The Weekend that just came out?
A good impression. We had wanted to do something together for a long time and it’s a coincidence that both of our records are being released at the same time. He’s someone very talented.

One last question: how do you wear your nails this days?
At this moment my nails are neither too short nor too long, very clean and always with a light rose or beige colour.
 
 

 
 
 
SHOOT
 
 
 

I couldn't respectfully disagree more. I think the lyrics of HM are so much more powerful and empowering than BTD's one. I think it's also because I grew up, and I now much more relate to the mature lyrics of HM than the cheesy-in-a-good-way lyrics of BTD. It's not the same themes at all either, and it's really an unpopular opinion but I'm truly delighted by Lana's writing on this album. BTD has some gems of writing, VG BJ OTTR, but this album's writing quality is much more cohesive imho, as a whole, which is peculiar to this particular album. I most definitely understand your view on BTD though, even though I personally don't share it as I prefer Honeymoon Glad this is the direction this thread is going, thank you!

I couldn't respectfully disagree more. I think the lyrics of HM are so much more powerful and empowering than BTD's one. I think it's also because I grew up, and I now much more relate to the mature lyrics of HM than the cheesy-in-a-good-way lyrics of BTD. It's not the same themes at all either, and it's really an unpopular opinion but I'm truly delighted by Lana's writing on this album. BTD has some gems of writing, VG BJ OTTR, but this album's writing quality is much more cohesive imho, as a whole, which is peculiar to this particular album. I most definitely understand your view on BTD though, even though I personally don't share it as I prefer Honeymoon Glad this is the direction this thread is going, thank you!

I couldn't respectfully disagree more. I think the lyrics of HM are so much more powerful and empowering than BTD's one. I think it's also because I grew up, and I now much more relate to the mature lyrics of HM than the cheesy-in-a-good-way lyrics of BTD. It's not the same themes at all either, and it's really an unpopular opinion but I'm truly delighted by Lana's writing on this album. BTD has some gems of writing, VG BJ OTTR, but this album's writing quality is much more cohesive imho, as a whole, which is peculiar to this particular album. I most definitely understand your view on BTD though, even though I personally don't share it as I prefer Honeymoon Glad this is the direction this thread is going, thank you!

My issue with GnR is that the first part of the verse is amazing, really excellent and then it all goes down in a split second after the 0:26 mark 

Not point in repeating so I'm just quoting myself but this is my opinion on Honeymoon. I haven't listened to it as a whole body of work yet.

The lyrics to all the songs? Yes I guess I could, but tomorrow, I'm just dying of sleep deprivation now haha. Same for the produced credits, sorry the OP is a bit empty cause I rushed to make it available asap

Fuck guys please go fight in the pre-release I mean it's exactly why me made this thread. @ any mod can someone delete all this useless posts (except May's one) and indeed maybe lock the thread? I'm writing all my theories anyway I think it's fair enough to wait until everyone heard the record but I beg you not to start a mess I love this album and I would love to be able to discuss it seriously

Lana Del Rey's 5th studio album was released September 18th 2015. 
 
Cover by Chuck Grant
 

 
Urban Outfitters exclusive vinyl cover by Neil Krug
 

 
Tracklist
 
Honeymoon
Music To Watch Boys To
Terrence Loves You
God Knows I Tried
High By The Beach
Freak
Art Deco
Burnt Norton (Interlude)
Religion
Salvatore
The Blackest Day
24
Swan Song
Don't Let Me Be Misunderstood (Nina Simone cover)
 
Singles
 
Honeymoon
High By The Beach
Terrence Loves You
Music To Watch Boys To
 
Produced by Lana Del Rey, Rick Nowels and Kieron Menzies.
 
 
Now that it's out, let's discuss song theories

FREAK IS ONE OF MY LEAST FAVS OF THE ALBUM!!!!!!!!! There I said it, I hate that I don't like it more but really compared to the others... Begging that it grows on me

I know that's why I'm asking around but tbh to this point seeing this thread I think it would be beneficial to have a clean thread to be serious on because I have some genuine questions about several songs and I don't want to be interrupted in my thoughts by a mass scat attack

Honeymoon did the unthinkable and topped UV for me but not necessarily because of purely musical reasons, it's because it's dark but it's happy, and it's reclaimed which is the EXACT state I am in right now. I wish I had discovered UV earlier because this record is an absolute jewel especially in its indulgence in self-awareness of the sadness, it's a blunt word but I can't find another one, melancholia maybe. Honeymoon, when I actually really dislike this name in itself compared to the spectacular ultraviolence term, is the incredible and extremely cohesive follow-up to this sadness. It reminds me of earlier this year when I got back into severe depression and I can pinpoint the exact moment I turned back and got up. Honeymoon feels like this. It feels like acknowledging the melancholia, but instead of easily being overwhelmed by it, reclaiming it and controlling it. I don't want to say that I prefer Honeymoon just because it's just out and I love theoretically everything Lana does. I've never related that much to any artist ever and I feel a real connection to the way she approaches her work and mine. I apologize, I don't want to sound pretentious, I am just completely astonished to find myself in front of a work that is the exact depiction of the path my mind took this past year, exactly in the same time than the UV and Honeymoon eras. Whereas in UV there are songs that I basically ignore, in Honeymoon, I find myself respecting the songs that I find to be less spectacular because of how obvious it is that this piece of work is seamless solid and cohesive and makes sense as a whole, in maybe a much less raw and raspy way than UV, but in a polished assurance, and full of extreme and pure emotion. 
 
tl;dr: Honeymoon is the best album ever made in my humble opinion, but not necessarily musically.

Should we make a post-release thread yet? I'm so eager to discuss song theories

Wow I feel exactly the same, thank you for saying it this well. I actually interestingly feel that UV is much more cohesive, UV was so violent, in-tha-face in terms of concept, but to me it's obvious that HM is just a story, with a beginning and an end and a distinct progression, which I don't felt that much in UV, which is more like peaks of intense emotions varying on similar themes.

I actually think she's MUCH more happy now... Idk. She's in stable relationship, she did the album she wanted exactly, and the fact that she does promo even though it's messy af and especially the fact that PRECISELY she's not as BLATANTLY vocal about how she loves the record feels like she isn't forcing herself, she's sure of what she's doing and she knows it's her best piece of work yet. Visually, to me nothing beats the rock chick with smoky eyeshadow from UV, even the iconic white T haunts my dreams. Uv era visuals are forever goals. I find HM more vintage, but in a very different, more mature, less badass but more assured way.

Tbh, I'm ending up snatched with extreme violence everytime, I can't grasp this woman, it's always unexpected and insanely better than what I thought it'd be, she could record herself sleeping and I'd cry on it and buy 3 vinyls

Not point in repeating so I'm just quoting myself but this is my opinion on Honeymoon. I haven't listened to it as a whole body of work yet.

The lyrics to all the songs? Yes I guess I could, but tomorrow, I'm just dying of sleep deprivation now haha. Same for the produced credits, sorry the OP is a bit empty cause I rushed to make it available asap

She said that she was Catholic in the Spiegel interview.
 
Also belief in a higher power is the second step of the 12 steps addiction recovery program, which Lana apparently did for her alcoholism recovery. I think that she stated that she doesn't really feel comfortable with the traditional approach to religion. She's very spiritual and metaphysical.
 
There is also an audio interview, wesat something, from 2014, where she says that she believes in God.
 
She states in another radio interview that praying is the thing she does everyday no matter what.
 
If you want, I have an interviews masterpost including these. This topic is EXTREMELY important for me.

Honeymoon did the unthinkable and topped UV for me but not necessarily because of purely musical reasons, it's because it's dark but it's happy, and it's reclaimed which is the EXACT state I am in right now. I wish I had discovered UV earlier because this record is an absolute jewel especially in its indulgence in self-awareness of the sadness, it's a blunt word but I can't find another one, melancholia maybe. Honeymoon, when I actually really dislike this name in itself compared to the spectacular ultraviolence term, is the incredible and extremely cohesive follow-up to this sadness. It reminds me of earlier this year when I got back into severe depression and I can pinpoint the exact moment I turned back and got up. Honeymoon feels like this. It feels like acknowledging the melancholia, but instead of easily being overwhelmed by it, reclaiming it and controlling it. I don't want to say that I prefer Honeymoon just because it's just out and I love theoretically everything Lana does. I've never related that much to any artist ever and I feel a real connection to the way she approaches her work and mine. I apologize, I don't want to sound pretentious, I am just completely astonished to find myself in front of a work that is the exact depiction of the path my mind took this past year, exactly in the same time than the UV and Honeymoon eras. Whereas in UV there are songs that I basically ignore, in Honeymoon, I find myself respecting the songs that I find to be less spectacular because of how obvious it is that this piece of work is seamless solid and cohesive and makes sense as a whole, in maybe a much less raw and raspy way than UV, but in a polished assurance, and full of extreme and pure emotion. 
 
tl;dr: Honeymoon is the best album ever made in my humble opinion, but not necessarily musically.

My issue with GnR is that the first part of the verse is amazing, really excellent and then it all goes down in a split second after the 0:26 mark