Monicker

Clairvoyance is one hell of a force.

Have you all figured out what you actually do?

So, i finally realized what the hell the chorus of Burning Desire is: LOL, Lizzy, good one!

HEY PARENTS, YOU HAVE NOW BEEN ADVISED, THIS IS FUCKING EXPLICIT.

You guys, i think a lot of what some of you are hearing as vocal "processing" is just compression artifacts, which there are a LOT of because these clips are compressed to death. The sound quality of everything we've heard so far is absolutely wretched. Let's wait until we can properly play the CD. I've listened to Burning Desire and Ride once and that's all i'm going to do because the quality is intolerable.

What we need now is for someone to make blatantly racist remarks and then get a lot of heat for it and then try to make up for it by jumping through hoops to buy an iTunes download from another country and then share it with everyone. Though i'm not really advocating one person supplying us all with the song. PATIENCE, guys.

Don’t know what to say other than i think it sounds great. I love the piano, everything about it--compositionally, the chord changes, the way it's voiced, how it's arpeggiated and the upper range it's played in, and it's recorded perfectly. It's really, really beautiful. The whole tone of this section of music is really hitting on something magical. This is very LA sounding and i would have thought that without knowing the title. It seems to be channeling her love for more contemporary film scores, too. Re: Body Electric: I’m happily surprised by how close this sticks to the performances we’ve been hearing since June. I was hoping that it would be mostly like the live performances with just a few subtle overdubs (and my dream harpsichord, dammit!) and this sounds like it's going to be just that. So relieved that it's not overproduced or given an "edgy" arrangement. My only gripe is her vocal performance, but it's not that big of a gripe. She just kind of sounds like she's phoning it in, going through the motions, until the "we get down" part, which is great and unrestrained. She's rushing it a little too. I think she should have sung it slightly behind the beat, but it's not that huge of a deal. No effects that i can hear on her voice, other than reverb, which is much better than what they used on Yayo. She’s going to get so much more critical acclaim for this than BTD. Mark my words. Some camps are going to start looking at her differently.

Putting aside the compressed-to-death terrible audio in these clips, here are some of my thoughts, both positive and negative: OH MY FUCKING GOD, I THINK THEY GOT BODY ELECTRIC RIGHT. Seems like it’s going to be a tasteful arrangement and non-offensive production. PHEW. I really cannot wait to hear the string outro. I would’ve never called that the final vocal take though, not such a great vocal from the little we can hear here, though i am glad she doesn't sound as restrained as she usually does on record and that she is singing more how she does live. Please god though, fulfill my dream of a harpsichord coming in on the second verse when everything sounds like bones falling off a skeleton and crashing to the floor. The piano is recorded INFINITELY better on these batch of songs than on BTD. That’s how it should’ve been recorded from the get-go. I think her vocals on some of these are a little too over-emotive. They should have gotten more vocal takes out of her. I know i would have The reverb on Yayo sucks my ass. That is like the worst of the worst, cheap digital reverb. Oy. However, that is how you record a piano, dude. Thank goodness. Shitty quality reverb aside, Yayo might not be a train wreck after all! The first song has a Tom Waits ballad feel to it. This sounds really, really nice! The drums are understated and great. American seems like it’s going to be a grower. Gods & Monsters sounds really promising but dear god, the snare sound is hideous, oy. That kick drum-snare pattern sounds so stupid too. This shit should have timpani for sure. Where’s has your love for timpani gone, Lizzy? Oh my god, COLA. I am floored. Everything about it, the sublime string quartet (thank fucking god for real strings, though too much fucking stereo separation, Emile, argh), the lovely tremolo guitar (though i wish this silly obsession with double tracking everything would subside), the insane, incongruous lyrics. This shit is going to be fucking amazing. I have just used the word fucking a lot. Also, Rick Rubin?! Really? Interesting. I am thoroughly enthused. Believe it or not.

I'm not kidding, the very first thing i thought when i clicked the spoiler and saw Yayo in the track list was YOU haaa. I thought, "Oh man, evilentity is going to have a fucking cow." A lot of people are, i think. I mean, come on, we're talking about what is probably her most beloved song and you know it's going to be totally ruined somehow with this version. Do we even need to pull out the track record? Naw. I hope i'm dead wrong, of course. And yes, i think its inclusion precludes AKA from being re-released. Or rather, i think it means it's off the radar for a re-release any time soon, and by soon i mean years. Should she die, god forbid (let's all collectively knock on wood) the album would no doubt be re-released though, along with some archival releases. They could really, REALLY milk posthumous archival releases, and most certainly will if she goes young. Anyway, let's not talk about anyone dying. Also though, if in some years she's still going very strong and has garnered critical acclaim and really sustained her popularity, i can see an AKA re-release. Anyway, i really want to know the reasoning behind including this song of all possible songs. It's bizarre. Wait, you're fucking? While posting on the forum?! This is the best thing ever. Dale Cooper is our lifeline.

Me too, very much so. And again:

Lyrically speaking, i've always thought of Lana Del Rey, first and foremost, as a storyteller. Not, say, in the sense of Tom Waits, whose lyrics read more like short stories, and one doesn't ever really wonder if he's singing about people, places, and situations from his own life. I think with Lana it's a lot more apparent that her subject matter is drawn from her life, but it's always puzzled me that so many people take every word completely as autobiographical truth. Almost as if that gives the lyrics more value somehow. I suspect she embellishes quite a bit, and i don't find anything "wrong" with that, nor does it make her and her songs less interesting or valid. I think that, as is the case with most everything, the truth lies somewhere in the middle. That said, when it comes to Lana Del Rey, i'm not terribly interested in the truth and details of her past and personal life. I'm just a music d00d at the end of the day.

You're right. I'm going to go for a walk, haaa. But to be fair, i wasn't exactly trashing it--just giving my initial impressions and observations in a rambling way. But yeah, i shall breathe and carry on. U R BOSS, LILY.

These titles are pretty bad and i’m disappointed that the longer titles were shortened. Ride, Cola, and Gods & Monsters are eXXXplicit, dawg. So many people are going to be SO pissed with whatever form Yayo takes on in this release. SO PISSED. Why would she even rerecord this song for this release? Is she insane? Does this mean that AKA is definitely remaining in oblivion? She already, so early in her public career, reminds me of one legendary music group (who i shall not name) who is notorious for continually making the wrong decisions and endlessly frustrating their fans. Two discs, obviously. Don’t see how it couldn’t be. It’s nice that it’s nine tracks, but at the same time the nature of this release strikes me as kind of stupid. Why not add a few more and call it a new album? It almost seems as if she’s trying to box herself into the mold that the media and public know her by from her recent rise to fame. The running times on tracks 1-15 are ever so slightly different (1 to 2 second differences on some) which, i think, either means: a) they’ve been inputed incorrectly by iTunes or they're only listing the actual running time of the music sans any silence, b) the space in between tracks was tinkered with a little for this release, or c) they could be longer/shorter fades (and if so that might very well mean that they even did additional things/changes to the recordings). Any word on the first fifteen tracks? They should be exactly the same masters as BTD, right? That Burning Desire clip is doing nothing for me. That melody is so generic Maybe it’ll be a grower though. Hope so. It’s weird, i almost feel as if i’m listening to a drone. It sounds so brickwalled. Oh well, it’s top 40 music, what am i expecting. I’m not sure if the the album cover is somehow good or if it’s atrocious. I'm very confused about this. I guess it would be a nice touch if it was a cardboard slipcase and the gold was embossed. It kind of seems like a caricature though, a self-parody. At least the color correction is not heinous like in those Nicole Nodland Summertime Sadness promo shots. Though the airbrushing of her skin makes me want to go off the grid and live a hermetic life atop a very far away mountain. At any rate, i'm still very excited for this release.

0mg but pussy iznt 0n derrr, i th0t 3vrythng wuz r3al

Better turn the computer off and get far, far away from the interwebz of hyperreality.

Hey all you new mods: Is there a feature i can use where it will just automatically like every post from the Auto-Tuned Loon? This asshole's on a roll.

I beg to differ. That H&M clip to me sounds like the most perfunctory shat-out-in-ten-minutes kind of writing, arranging, engineering, and producing. Sounds like cheap Morricone by the numbers made quickly for a TV cue. Blargh.

I seldom know what it is that you're communicating. Do you think this speaks of you or of me?

Tipper Gore and the PMRC thrivin' in 2012. Also, what is that tire swing hanging from, a magic cloud? When i first heard that the other day, my first thought was how that is some of the most generic, stock sounding music. It totally sounds written, arranged, and produced to be used for some sort of TV spot.

He should, yes. But only if: He knows what he's doing. He knows what's best. He really cares about Lana. He protects Lana.

I believe it's P-P-Pepsi, not vodka Pepsi.

I thought this thread was going to be about rumors concerning an esoteric sub-forum...a forum within this main forum, hidden from plain sight, but sending out a black light in all directions... Isn't most everything a rumor? How long before the thread unravels entirely?

I...love you?

NO. I do not make COMMON references. #esoteric :creepy:

I was actually just wondering about this yesterday--if Emile Haynie already had your sounds prior to the recording of BTD or if he made them specifically for the record. I wonder if he even made them or if it's some stock shit that he manipulated. And did he show Lana and she liked it, or did he just add it to a song on his own and showed her later? Also, i wonder who is responsible for the repetitive use of it--did she hear it on one song and insist that he use it more because she liked it so much, or was it completely his own doing to slather the entire record with it? Is anyone familiar with his productions for other people? That might provide answers.