pwussi

Would love a flowery, beachy album, similar styles to Wayamaya, Kill Kill, the intro of Wait For Life, West Coast, and so on. All masterpieces in their own way!

I want something that has unique instruments and sounds (MTWBT) w/ beat switches (like OTTR, Brooklyn Baby) and surf (Wayamaya, Mermaid Motel) and/or trap influences (HBTB). With dark lyrics like Disco, Pin-up Galore, Money Hunny, and Pawn Shop Blues.

As pop as possible. Catchy choruses, well-written bridges and properly pronounced verses. She should also work with Emile again.
 
This whole "I want to be appreciated as a writer and an artist" thing ain't working for her, see Grammys or this years End year's lists. Commercial Lana slays anyway and why we all fell in love with her.
 
She should get rid of Rick Nowels.
 
ETA: Oh and yeah, she should stop trying to be jazzy. Dear Lana, singing a bunch of aaaah's and ooooh's, just because you're running out of ideas for proper lyrics in a song, doesn't make you a jazz singer.

It's not that easy. She cast a spell on us. I really love her voice on record and I'm still curious with what happens in her career. I think her next major career move (album) will be the turning point for me. If she comes out with another HM then I will have to admit that I overstated her talent and I will probably move on. I think that she needs a major shift in her topics to gain/maintain artistic credibility. Her peculiar solipsism it's exhausted, she needs to come out from her bubble but I'm not very optimistic about that tbh  

I think 24 and Honeymoon were the weakest original songs on HM, and DLMBM is probably a good example of why she should leave other peoples' songs alone. I think the quality of her writing is declining.

im not gunna say shes declining but i feel like her AKA demos are waayyyyy more creative than anything off of Honeymoon. 

does anyone know if she still writes with a guitar? cuz she should.

Not really - she has already declined and hit rock bottom. Her commercial and relevance peak was in 2012. Any success she's enjoyed since then is due to the afterburn of Born To Die's controversy. However, she's still declining lyrically and visually; her creative output just seems to get weaker and more uninspired over time. 
 

 
Don't quote me with some "music not the bling" fantasy. The quality of her music is following a similar trajectory to her career, and it's not looking that good. No shade. I still love Honeymoon, but I feel that's only due to my personal bias as a stan. I'll love and support anything she puts out, but I won't deny it's bad.

Commercially, yes. And she is the one to blame for it, because the music has been good. It's just some weird choices she makes. Like making Honeymoon a promo single and MTWBT a second single.
 
Artistically I think she is at a point where she needs to challenge herself a bit more. Not for hits, but more to keep the attention of the listener throughout the record. Tempo-changes would be nice. Making the whole record super-slow ain't doing the trick.
 
Having everything "beautiful" and "majestetic" is way too settled for a woman making her third major label album. Also, most of the songs on HM go on for about a minute too long.

She's really declining in terms of commerciality, the numbers prove it straightforwardly. Compared to the other artists nowadays, it's rather pitiful seeing her numbers not that far off Marina's. As for the musical part, I feel as though she peaked during the UV era, whilst moderately declining come HM. BTD was perhaps a mess, but a beautiful, vibrant, delicate, fascinating, marvelous mess, and that, per se, was the pinnacle of her career(commercially), simply put. It's probably because of the catchy and playful melodies at the time, thereby granting relative ease to someone who'd want to stan her. I don't like the HM Lana at all, likely due to the redundancy and superficiality ingrained into the album, she seems incredibly lackadaisical if you'd ask me.

http://www.nme.com/news/lana-del-rey/85763?utm_source=twitter&utm_medium=social&utm_campaign=lanadelrey
 
So Haynie is doing the majority of the production? Hmm...I was hoping she would work primarily with Ronson.
 
This isn't good news, IMO. This album is very important for her trajectory as an artist and she needed to try something new, but she's decided to go back to work with Haynie who couldn't diversify his sound to save his life. I remember she said she wasn't crazy about the production on BTD...I wonder if the label is pressuring this to repeat the commercial success.

she is a master lyricist when it comes to choruses

Lana go to rehab for once and don't release LIB as single for Honeymoon 
 
 
 
 
 
Dear John PLEASE DON'T 

After all, Ronson's album isn't doing THAT great and he isn't doing tha much promo either.
Maybe he just thought: K, this is nice, but not something I wanna do. 
What scares me the most is that the songs may sound a lot like I Can Fly or Big Eyes.

Yes, but just a visual album - not a surprise release or something like that.

I wish she'd do both age-restricted and not but I guess since that would mean she has to do 2+ concerts at each place then it won't happen. She doesn't like touring already and that kind of makes her concerts a commodity which makes the tickets sell better, she keeps her aura of mystery, etc. I think it would be so interesting to see exactly what crowd she would bring at a 21+ since its such a small fraction of her fanbase.
 
I also agree on DMD being often overlooked, but only with the demo production. I get such a quiet-night-in-the-big-city vibe, like she and the man are cursing through the streets at night or up in a penthouse overlooking the city, very luxurious kind of setting. There's so much going on in the album version that I don't even get a mental image for the song because my brain is overprocessing and that is probably the only Lana song that happens to me with.
 
I don't know if I'd say her quitting smoking is unpopular. Or that, despite wanting her to quit, she does look like a complete irresponsible badass when she does the smoking thing at the gas station in Ride.
 
To be on topic, here's another of my unpopular opinions: I don't know if its the flow of the song, melody, or what, but I just can not get into Black Beauty at all. I objectively recognize it is lyrically beautiful, but something about it is just off to me. I never get the urge to hear it and skip it half of the time. It just doesn't stand out at all and I'm genuinely sad about it.

OHHHHHHHHHHHH MY GOD
FUCKING NIGHTMARES
YOU DON'T EVEN UNDERSTAND
:( :( :( :( :( :( :(