sparklrtrailrheaven

I don't get the love for White Mustang. It's repetitive and Lana can do deeper songs

I've been waiting for this day to finally come !! Happy Lust for Life Day lovelies
 

Honestly people not liking Cherry cause of the cussing... get ova yourselves!

NEW PHOTOSHOTO FOR FADER MAGAZINE!

Turned out to be weakest track

An album. Heroin is my favourite Lana song ever and I'm not being hyperbolic. A psych electronica rock pop alt post apocalyptic future retro masterpiece. The Mason references and the images of junkies spraying the walls w their blood make me shiver. It just makes everything else she's done sound so irrelevant in comparison
 
World At War is inexplicably sexy and seductive. The bridge gets me hard. Especially when she sings "when the world was at waar mmm". I'm shaking
 
GBA is just so beautiful and melancholic. The second part of the chorus is especially gorgeous.
 
Get Free is a brilliant closer that I feel kinda lays the ground for her next record.  Also, I love how high in the mix her vocals are during the "OUT OF THE BLACK..." part. It gives the song another dimension. She's an INCREDIBLE producer. Blown away by her vision, genuinely
 
 
It kinda annoys me how underrated WIld Mustang is. It's hypnotising. LOVE the whistles. I feel it'd have easily been a Lizzy song had she sung it in a higher, Lizzier tone.
 
In My Feelings is sucha highlight poor the peeps who pretend they dislike that delicious and addictive faux trap beat aah. The bridge is insane. Such an anthem. The lyrics are fucking amazing and hilarious. "I'm crying while I'm cumming" is such a good line. I'm gonna quote it w every chance I get from now on
 
All in all I'm very satisfied and happy with album. I honestly expected the worst after Coachella. Glad Legend proved me wrong <3
 
 
Also, she better exploit her relationship w Gerald. A Taylor Swift tea.

Get Free is an ANTHEM. I don't just love it for the Lizzy-esque vocals, either! 
 
I love the message I get from it: your life, your destiny, your happiness-- these things are in our own hands, and it's up to us to make a commitment to break our old, tired habits; to see through illusions and the lies we tell ourselves; to emerge from the deep, dark black into the bright, wide blue. 
To me, it's very much a song about breaking the chains we put on ourselves, and learning to claim life and the good and beautiful things it has to offer us.
 
It's funny, because it's exactly what I needed to hear right now. I couldn't be struggling worse at the moment, and things finally hit their lowest point yesterday, so Get Free felt exactly like the rebirth and push into the blue that I needed. 

Stevie Legend Nicks killed it I'm sorry you guys are tasteless 

Part 1 Livestream before it shut off-
 
https://www.youtube.com/watch?v=vmwozGV2rCg
 
Yosemite- 14:30

Just my review I shared on most of the sites I follow (music/film,etc.)
 
Lana Del Rey’s Lust for Life is an entirely self-aware piece – just as all of her past albums have been. Haters gonna hate, but Lana is arguably the most influential female “pop star” of the past five or so years. Everybody from Miley Cyrus to Katy Perry to Lorde to Adele to Selena Gomez to Tove Lo have all admitted to having been, in some capacity, influenced by her. What’s ironic? All of those artists have, in some capacity, brought the sadcore lyricism (and melancholic nihilism) that Del Rey perfected into their work – and now, it seems like even those who were on the scene before 2012’s Born to Die are also picking up on those influences. It may be a bit foggy at the moment, but time is going to be good to Lana. There’ll be a day when her initial scorn is forgotten, and she’s entirely considered one of the greats of our current pop landscape.    Lana’s music has never been “one-track minded” – instead, she’s been a storyteller. Her narratives are always loose, but almost humorously tight. On her 2012 EP called Paradise, the song “American” is followed up by “Cola”, which has the unfortunate first lyric of “my pussy tastes like Pepsi-Cola” – a song that seems stupid until you realize the performance of the Del Rey persona is remaining consistent, and has all these years. On Lust for Life, she ups the euphemisms and compares sex to more nature-driven symbols: cherries, peaches, rosemary, thyme – but the song still remains about fucking; while Del Rey’s Shangri-Las-like “wall of sound” production has her playfully adlibbing in the background “bitch” and “fuck”, almost as if she’s taunting us (or daring is) to see her in a serious light. It works, because – in the end – with her cheeky humor, Del Rey’s albums are almost always entirely serious. It’s the Americana-coated imagery that makes it seem less pop ballad, and more folk ballad with a little touch of ammonia.    Lust for Life starts off with a guitar-driven “wall of sound” space opera, and then follows that up with seven trap beats filtered through some kind of Phil Spector production you’d find the Ronettes placed in – with Lana, herself, showing off her range of octaves, and the many accent stylings she uses when approaching her visual-driven lyrics. These songs are hot (in a sense, that they are really driven by an atmosphere of a smoggy, polluted Los Angeles heat), and see Lana at her most cheeky. The middle track of the album is “Coachella – Woodstock in My Mind” – a track that, on its own, feels barebones and kind of silly – but in context of the album feels like a breather before the real momentum of the album starts.    By using this one track, Lana bridges the “summer trap” of the first half of the album (which could accurately be akin to the things you’d hear Lana doing at Coachella) with the second’s “folk-driven trap”. Instead of focusing on the overwhelming heat of the songs, these seven songs (two of which feature Stevie Nicks and Sean Lennon), are politically-minded, and almost seem to scream in the face of the listener. It would be so laughable if it weren’t so damn sincere, and it would be difficult to not take seriously if it weren’t for Lana remaining self-deprecating and sarcastic through a lot of it by supplying more of her unenthused nihilism. The chorus to the song “When We Were at War We Kept Dancing” is, quite literally, “Is it the end of an era? Is it the end of America?” followed by a nod to M.I.A.’s “Paper Planes”.    And Del Rey really allows herself to be BIZARRE here. As with Lana’s past work, there are nods to poetry, with the album’s title track quoting – verbatim – the poem “Invictus” by William Ernest Henley. She also samples Radiohead's "Creep", samples audio from the '62 horror film Carnival of Souls, has the balls to name a song "Heroin", makes a sequel to a song from The Beatles' Revolver, and has recurring lyrics throughout the songs on the album, as well as literal melodies played on both ends ("White Mustang" and "Heroin" are pretty much one song, explaining the former's short length on the album's "Coachella" side.)   But there’s also a track that compares the Charles Manson cult to contemporary L.A. hedonism – with Del Rey belting out to her fans that she’s “tired of it” when they’re “rubbing blood on my walls and shit.” There’s a lyric on the final track that name-drops Aliester Crowley as if he’s a household name, with the same song being self-proclaimed as her “modern manifesto” on “taking the darkness out of the arts” and going “from the black, into the blue”. Political to the point of oversentimentality, but in the same universe as pussy tasting like Pepsi, it comes from a place of pretty moving density – even though it’s wrapped up in such hyperactive imagery. It says something that she can scream “it’s fucking hot, hot” on the same album as “hip-hop in the summer, don’t be a bummer” – and still come out on top saying, in one song, “there’s something coming in on the wings of a bomb”.    I’m worried many critics are going to miss the album’s horror elements and focus simply on the “happiness” that Del Rey has found. I’m also worried that, perhaps, not enough people have caught up to Lana in how she’s been approaching her work from the beginning. Some still see her as manufactured.    An album this messy and weird – yet entirely consistent to her and all her work before it – proves, without a shadow of a doubt, she’s in complete control.   
And holy shit, how she’s an enigmatic, dense, melodramatic, sadcore storyteller.

Her best album to be honseat, she sounds free, like not strained to one specific theme or aesthetics. She's all over the place and doing it cohesively. Never expected her to go back to hip hop beats, noneless spreading it trough the whole album in bits and pieces in non hip hop songs.
In my Feelings is the new Art Deco and Brooklyn Baby. Also it makes me wanna be a stripper lawd
Heroin is fucking amazing. The second half of the song is a full on trip to the 70s. UV is shooked. And those "come on" Lizzy Grant coos omfg

stevie nicks did that 

Lust For Life rating: bitch/10
 
http://picosong.com/v37M/
 

OUT OF THE BLACK into the blueeeeeeee
INTO THE BLUEEE

the second I heard Lizzy shine through I knew.. we all say every song is her magnum opus based off her and our favorites; but that song is everything.
 
it referenced her older songs (and two specific ones mentioned further in the post), 
 
it gave truth of a transformation- going from black to blue, albeit it's not all the way there; it's still change and progress (beats 1 radio interview & the recent one from yesterday and the previous song Change REALLY give insight to this song. Like she was telling us before it showed itself)
 
it showed Lizzy Grant high vocals while being VERY shangri-la and 60s sounding, and the fact it was the closing track really felt like she tried to encompass her beginnings with her studio album career while also showing the beginning sound of the album itself; it's a musical double entendre 
 
It truly stands in the hall with Ride and Video Games. In terms of Lana's most tried and true and iconic songs Video Games, Ride, and Get Free are genuinely her magnum opus' and we all need to understand that

"love. is it real love? it's like smiling when the firing squad's against you, and you just stay lined up. yeah. fuck."

did anyone else think of mata hari? defiantly not wearing a blind fold during her execution and then blowing each one of her executioners a kiss.

No she's not actually according to U.S. Code § 0721 - Being a Sultry Modern Torch Singer, in which the second Lana cracks a smile she will be immediately thrown into a small spaceship and sent to the moon

I don't understand the hate for change. It's so fucking good

my cherries and wine, rosemary and thyme, and all of my 

Get Free. It describes how my journey feels right now. I'm beginning to decide things for myself and "get free", but there's still a lot of confusion because I've felt so held back by my need for control before (which I can now channel through my work ). It sort of reminds me of when I first started the process of recovery for my eating disorder, but there are so many areas of my life where my need for control has controlled me. But I'm learning to live. I'm moving out of the black and into the blue. 

One of her best interviews. So genuine. I like that while we're learning information about the new record, the interviewer also dips into past records. It's interesting hearing about Black Beauty and how that song can still be relevant to her current life. I also liked how they talked about the missing lyric in Ultraviolence. I had actually noticed that last year while she was doing her little festival tour, and made a post about it wondering what that was all about. It's interesting to hear now.
(@ 1:00 & 2:10)

 
Also, one of my undying questions has finally been answered.. I finally know what songs Lana sang at Kimye's wedding.
& I truly hope Lana is doing alright. Her emotions were so raw in this interview. Sending her all my love and positive energy, as always. x

This interview helped me re-appreciate and realize just how much strength and determination she has had to have to go down the path she did. This whole thing could have never happened had she just caved in and gone in the directions people wanted and that would have blended in with what everyone else was doing. Or it could have very, very well stopped completely after BTD and we would have never gotten anything else---and that would have been perfectly understandable, considering how much hate she got during that time. Very few people would realistically keep going in a public way after dealing with those circumstances (because again, for anyone who was not around during the BTD backlash from all corners, it was not just the typical hate that all new musicians get in some doses when they make it big, it was near-unprecedented the way people attacked every single aspect about her).
Every album she's put out has been a testament to her strength of surviving all the bullshit and going with her vision. To me, that makes her a role model to everyone who is or feels different from the pack. She lets you know to just keep going and to show up with your full self, even if not everyone will connect with it or understand you. 

hearing her feelings on some of the political stuff was nice, as a feminist i was kind of shocked back when lana said she found feminism uninteresting and reading now why she felt that way and how the american presidential situation changed her feelings was like, yes thanks for talking about it