Monicker

While we're on the topic, i have absolutely no idea what "lel" is. 

Same here. I don't have the dark paradise radio edit, dynamite, butterflies pt.2 or back to tha basics

 

and ive watched about 1 and a half tour videos

Yet you had an aneurism and meltdown when a few outtakes from old photo shoots were revealed in the tour programme?  

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I don't know if this belongs here, in Lana confessions, or in Unpopular Lana Opinions, so you know what? I'm going to write half of it here and continue the second half in the ULO thread 

So, here is my confession/unpopular opinion:

I know that it's used as a joke and a metaphor, but even still, to be frank, i'm getting weary of the Ben Mawson vilification. It’s just a very reductive hero/villain sort of thing, and i think it's gotten a bit out of hand, unfair, and somewhat baseless. I'm not singling anyone out here, i’m just referring to the consensus on the board. He has become the scapegoat for anything and everything negative in Lana's career, and the default culprit for any deterrent in fans' pursuit of her work (examples: when WMG blocks a video on her YT channel it is automatically attributed to Ben; lack of promo...

...tion is thought to rest entirely in his hands; when a music festival uploads 3 professionally recorded live songs on their YT channel and state that they only have the copyright to use 3 songs, it’s somehow because of Ben’s interference...i mean, what?) People are operating under the assumption that the guy has way more duties than mangers have, that he alone is responsible for all facets of the business end of things. Also, in cases in which he actually is responsible for a certain outcome, he’s just doing his job, ya know? I’m not saying i don’t see how he’s been a nuisance to fans, but come on, he isn’t to blame for everything bad. 

I should do like Finnegans Wake and loop this post back to the beginning, mid-sentence. Or write four paragraph long sentences with words like Bababadalgharaghtakamminarronnkonnbronntonnerronntuonnthunntrovarrhounawnskawntoohoohoordenenthurnuk.

and lana means wool, her middlename is woolridge, she's king of herself, or religious leader of herself

 

"I am my only God"     

 

 

 

inception 

 

 

Del Rey - King of

Lana - Wool

Lana del Rey = King of wool

Uhm. Of the king, not king of. The king's wool.

It's an error. The tour programme was actually designed by a 13 year old kid in Japan using GEOCITIES. I read the correct information on the internet. 

i wonder what doors song she was listening 2. i will judge her if her fave is light my fire~~

Come on, you know it is. 

Sorry, allow me to quibble. That jazz arrangement of Y&B heard in that behind the scenes clip is not Swing. In fact, Swing didn’t even exist in the time in which The Great Gatsby is set, and F.Scott Fitzgerald himself would have just barely even been acquainted with the origins of the Swing style given the year he died. What’s heard in that clip is more like late Dixieland/early Chicago style but a kind of revisionist take on it.

I wonder if it'll be heard as incidental music in the movie or if it was composed just for additional material like this clip. I'm going to dissent and say i really wouldn't be into her singing on anything resembling this arrangement. I feel like if she did something in that style it would undoubtedly have a hokey retro/novelty quality. 

This guy was a complete shit stain on this forum since the day he joined. I figured it was only a matter of time before he'd get banned. I am surprised his sexist, racist, bigoted, and other problematic bullshit lasted this long. Good riddance. 

AKA was recorded on a low budget with different producers, but the songwriting still has a similar feel to the songs on BTD.

Just one producer, David Kahne. Also, i have no way of knowing this with the lack of information we have, but i'm willing to bet that the AKA recordings on a song-to-song basis cost more than the songs on BTD that don't have strings. 

Watching some of these live videos and i had a thought. I want to go back in time to, like, 1980 and tell people that one day concert goers will hold up telephones instead of lighters, and be laughed at and told that i'm crazy.  

What a great way to open a show. Those first few minutes are gold. You can feel the anticipation and excitement even through a little youtube video. 

idk why people think auto-tune then jump to instantly bad. I don't think it's a bad thing at all. Kanye West's My Beautiful Dark Twisted Fantasy heavily uses auto-tune all the way through and it's creates what's really quite a beautiful, eerie sound (see: Runaway).

There is a night and day difference between Auto-Tune and similar programs being used as effect (Kanye West) and as pitch correction (Y&B). They're not really comparable situations. In the case of the former, the listener is supposed to hear it because the software is purposely being misused to clearly alter the singer's voice, whereas when it's used to correct pitch, it is intended to be transparent, unnoticeable--though, of course, there are those situations where it slips through and it can be heard. 

In theory, i am not against the use of it. It is, after all, just another studio tool. I don't have a problem with "cheating" in the studio. There are plenty of tricks that have been used since the advent of recorded music to get a better sound or performance. It's just that, in practice, i think it sounds bad. Something happens to the voice when you run it through the software and drive it too hard. It has the tendency to strip away a lot of the nuance, the heart and soul of a vocal and make it sound sterile (even when that's not the intention). That's my problem with it when it's used not as an effect.

And the thing is, i believe that even if the listener doesn't have the ear, experience, knowledge, terminology, etc. to detect details like this and determine and describe what exactly is going on with the vocal, that at a very fundamental level, most people can still feel that something is "off" without knowing what to attribute it to.

Mmmm, sometimes I dream about Million Dollar Man, Carmen and Without You done in Kahne style    (and I'm one of few that actually like Haynie)

 

 

 

But it's really hard to imagine how it'd sound like because visually they're quite different. Like, when you listen to AKA it makes you think about trailer parks, gas stations and so on, and it's very americana in a stripped back sense. BTD is different because it's more glamorous, extravagant and lavished, still americana but the theme sticks to opulence, which is why I liked what Haynie had done with BTD, I felt like it was supposed to sound too much and overproduced because that's what that album was aiming for.

 

So I don't think it'd work releasing BTD as Lizzy Grant because it needs that melodrama and excessiveness, and AKA couldn't be released as Lana (and probably why the remake of Yayo didn't work) because the production has to be spare and in moderation to fit with the visual side of her music.

I was thinking yesterday of a way of saying something similar, about the visual aspect of the songs/albums, or more specifically, the thematic material. They are in very different ball parks, yet, let's say, in the same neighborhood. Not unlike, say, driving through a part of town, and from one street to the next, you can see the socioeconomic makeup change right before your eyes. Yet the area's citizens all share a sort of bond in that they call the same place home. Some of the culture finds its way into all facets of the neighborhood.

That's a really good point you make about the production style fitting the themes and subject matter of BTD. As i've said before, there's something about how overproduced BTD is that i like and i can't entirely pinpoint why, though i wouldn't want more of that sound/style.   

Also, the vocals have me grinding my teeth. On one side she sounds more emotional than she usually does which is nice, but they've done something to her voice, whatever it is it makes the song sound cheap and it's really off-putting.

I can tell you for sure that it's the digital reverb they use on her vocals but i also just detected Auto-Tune, which i hadn't noticed on the first few listens. It's transparent throughout the whole song except for one section where it's especially noticeable, even blatant, on one word specifically, but i'm not going to say where and be that guy that ruins it for everyone 

On the subject of Skyfall: I was really surprised by that recording. That’s how i wish Lana’s “big productions” were recorded, produced, and mixed. I hate to use the term because it’s such a cliche, but listen to how warm that production sounds compared to anything Lana has ever recorded. It was recorded at Abbey Road and you can tell instantly that it was recorded at a studio of that caliber. Listen to the piano, the drums, the bass. Listen to the reverb on her vocals. I don’t know the story behind the recording, but i’d bet a lot of cake that you’re hearing the classic Abbey Road echo chamber on those vocals. You hear me bitching all the time about the way they treat Lana’s vocals. Well, here’s a current day example of how i wish they’d handle her vocals.

Play Skyfall and Y&B back to back, ignore the songs themselves (the composition, performance, etc.) and just pay attention only to the sound, the production, the way each instrument sounds and sits in the mix. If you don’t hear a huge difference between the two and how cheap Y&B sounds in comparison, well, i envy you 

Uh, fantastic editing job, but that's not quite what I had in mind...   I was thinking more along the lines of the live version of "Brite Lites" 

You do know that i knew what you meant and that this was a joke, right? Come on, evil, it’s funny. Don’t overthink the joke 

It is neat to think that the guy who produced Slayer 26 years ago also produced Ride though, isn't it? 

She is singing about HARVEY WEINSTEIN in Cola? 

NO. 

(i come alive alive)

Is that what it really is? I've never been clear on this. And we are 100% certain that it's Harvey's in the sky? What the hell is that? 

This orchestral version: great arrangement, bad mix. I'd probably be a little into the song if this was the version, if it was remixed, and if her vocals were processed differently. I can see why they’d want to go with the other version though for the soundtrack/single. I do hope Dan Heath and Rick Nowels are the two main people working with her for the next album because i think they've been doing great work. I’m pretty sure she said this was the case, no? 

why can't I stop listening?

Because it’s fucking awesome and the world was in need of David Kahne and Rick Rubin coming together to create the ultimate Lana love baby.

Is it your arm on the cover? 

Ha, NO. That’s a thing that Slayer fans have been doing since the early ’80s. I just googled “slayer carved in arm” to find a photo   

Fuck that. Gimme a Rick Rubin alt-metal version. 

Early Rick Rubin SLAYER style! Gimme the brite lites, gimme the brite lites, gimme the ANGEL OF DEATH

Alright, i couldn't pass up the opportunity to do this.

EDIT: Ugh, it sounds like ass on vocaroo. Here's a download link because you know you want to download it in good quality 

Why are misheard lyrics so unbelievably funny? I have a headache now from laughing.

 

"Ridin' his white pony named Kevin"

This is amazing. I want to make a song now called Ridin' His White Pony Named Kevin. This might be my very favorite misheard LDR lyric.

"Baby, I'm a 4015 and I'm what you desire."

This just reminded me of when BEEPERS were around and people would beep 143 as a code for "I love you." 

Take me to the (idk)schwein (means pig in german)

Oh my god, take me to the German pig. Another song i'm going to make. 

And I did not realize she was saying bitches in Blue Jeans for the longest time

Me too. 

Sometimes I like to think that she's giving off that "vulnerable girl" vibe as a parody, an ironic way to criticize women's roles in relationships... but then I realize that's just me overthinking everything

When i first heard Video Games i had no doubt the lyrics were irony. Then i started listening to more songs and getting into her and watching interviews, and i realized the song was very sincere. I also realized then that i like both interpretations. The song works in either context. That sort of "old fashioned" sincerity is an anomaly in a lot of today's music, and even in people in general, so i found that quality alone to be appealing and commendable. 

We should totally make an acid simulation thread.