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sparklrtrailrheaven

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  1. sparklrtrailrheaven liked a post in a topic by Edelgard in Pitchfork Interview: "Life, Liberty, and the Pursuit of Happiness: A Conversation With Lana Del Rey"   
    I love how opiniated she sounds. She doesnt give a fuck. I noriced that with Zane too. She just straight up let it notice if she thought a question was stupid or if he was crossing a line etc. She's looking out for herself and she's self-aware which is great. I can understand she doesnt wanna talk about her grim circumstances every week when the album cycle comes around so she moves on.
  2. sparklrtrailrheaven liked a post in a topic by NamiraWilhelm in Pitchfork Interview: "Life, Liberty, and the Pursuit of Happiness: A Conversation With Lana Del Rey"   
    [At this, Lana begins to cry, and we pause for a moment.]
     
     
    just reading that nearly made me cry, damn my empathy. This is a wonderful interview.
     
     
     
     
    The most striking thing is her attitude, just as it struck me in the Zane interview. She really doesn't give a flying fuck any more does she? No more sweetheart, she straight up has no more fucks to give. 
     
     
    Glad to hear she'd making new music already. I need her to bang out a few more albums before she has babies and starts singing about them, the most heinous thing a female singer can do in my non-maternal opinion
  3. sparklrtrailrheaven liked a post in a topic by veniceglitch in Pitchfork Interview: "Life, Liberty, and the Pursuit of Happiness: A Conversation With Lana Del Rey"   
    http://pitchfork.com/features/interview/life-liberty-and-the-pursuit-of-happiness-a-conversation-with-lana-del-rey/
     
    Life, Liberty, and the Pursuit of Happiness: A Conversation With Lana Del ReyOn the eve of her fourth album, the pagan pop star sounds more content than ever. How did she get there?

     
    Famous artists are notoriously late, but when I arrive about 20 minutes early for an interview at Lana Del Rey’s Santa Monica studio, she is ready for me, offering a handshake and a smile. It is the week before her new album, Lust for Life, will be released, but she seems unhurried and relaxed; when I ask if she’s been busy in the leadup to such a big day, she says “no” with a laugh, as if she knows she probably should be. She is not dressed like the glammed-up mystic you see in music videos and photographs: her hair, long and brown, is tied functionally behind her neck, and she is in a white T-shirt and blue jeans, with cream canvas sneakers and white ankle socks on her feet. Right away, she invites me through a side door into the inner sanctum where her brooding songs are created.
     
    For Lana acolytes, this is a mythic place. She has recorded here since 2012’s Born to Die, her major label debut. It is a beautiful room filled with sun coming in from a skylight and two windows, the opposite of the average dank music studio. It looks a bit like how you’d expect Lana Del Rey’s workplace to look: vaguely and warmly retro, with dark wood cabinets and a mid-century-looking painting with interlacing geometric shapes hanging on the back wall. In the center of the room is a scratched-up leather club chair with a Tammy Wynette album cover facing it. (“I always have Tammy there,” she says of the country singer best known for her ode to everlasting devotion, “Stand by Your Man.”) This chair, and not the actual booth in the front of the room, is where Lana sits to record her vocals. “I get red light fever in the booth,” she says. She likes that the studio is by the beach, where she’ll sometimes go to listen to mixes of songs on her iPhone.
     
    The studio is owned and operated by Rick Nowels, her longtime producer. He has come down today to listen to the album with us, a pair of sunglasses firmly on his face. Nowels has more than 20 years on Lana, who is 32, and he inhabits something of an uncle role, making the songwriter a bit bashful when he sweetly refers to a ballad called “When the World Was at War We Kept Dancing” as a “masterpiece” for its lyrical message about the importance of finding ways to have fun, even in the Trump era. Gearing up to record what would become Born to Die, Lana had met with a number of producers who all tried to tell her what she should or should not sound like, with some encouraging her to ditch the breathy vocal style that would become her signature. When she finally met Nowels, he didn’t want to change a thing. “I went through a hundred and eleven producers just to find someone who says ‘yes’ all the time,” she says. “Everyone is so obsessed with saying ‘no’—they break you down to build you up.”
     
    Lana is a studio junkie—Lust for Life is her fourth album in about five years. She says a day that she works is better than a day that she doesn’t. Nowels tells me that even though the new album isn’t out yet, she’s already making new music. “If I get a great melody in my head, I know it’s a gift,” she says. As we sit down to listen to Lust for Life, she is clearly at home: Like a good host, she offers me her comfy leather singing chair and instead curls up on a blue velvet couch nearby. She has a familial rapport with not just Nowels, but engineers Dean Reid and Kieron Menzies, who she credits again and again for making her work better, and the four of them ruminate on mastering, making jokes about Lana’s perfectionism when it comes to the final cuts of her song.
     
    The album, like all of her work, is fastidiously and emphatically Lana in its sound and atmosphere: a haze of lazy pacing and flowery melodies, conjuring a foreboding backdrop for lyrics about summer and antique celebrity icons and dangerous, dissatisfying relationships. Front and center in the mix is her voice, which has a crooner’s tone and an especially wide range, from deep and low to high and sharp. Most pop stars rely on reinvention to retain relevance, but her output is remarkably consistent. She says her main criteria is whether or not a song sounds like it will transport listeners to somewhere else in their minds. On each album, the skeleton remains more or less the same while she infuses her work with stylistic elements from different genres, from rap to rock to jazz. Lust for Life draws from folk and hip-hop, two genres that she says she loves because they both privilege real storytelling.
     
    The new record is a departure in key ways, though. In the past, Lana has become famous for themes that are, at times, hopeless: toxic romance, violence, drug use, despair, aging, death. This isn’t to say every song she has ever recorded is a downer, or that she hasn’t displayed a knowing sense of humor about her reputation. But her relentless obsession with the dark arts is a reason why her fans love her with an almost religious fervor; she’s had issues with people breaking into her house. “They want to talk,” she says chillingly. Her menacing themes have also led to resistance at certain momentsfrom larger audiences who, perhaps trained to think of pop music as a tool of empowerment and empathy, just can’t face her nihilism.
     
    While Lust for Life certainly has it’s share of grim moments, it is not as much of an avalanche of gloom, and perhaps offers signposts to a happier future. At times, Lana even approaches uncomplicated joy, like on first single “Love.” The album also contains some of her first songs that deal with a universe larger than the tangled intensity of one-on-one relationships—there are tracks intended to be balms and battle cries for trying times, which, like many Americans, she found herself fretting over constantly during the 2016 election campaign. And for the first time on any Lana album, she’s also opening the door to a number of guest vocalists: A$AP Rocky, Playboi Carti, the Weeknd, Stevie Nicks, and Sean Ono Lennon on a Beatles-referencing song called “Tomorrow Never Came.” “I FaceTimed with Yoko, and she said it was her most favorite thing Sean’s ever done,” Lana says.

     
    After listening to the album, Lana and I peel off to a small office on the other side of the studio for our interview. Before we begin, she pulls out her iPhone to record the conversation along with me, a defensive move she’s taken up after years of feeling manipulated and harangued by the media. When answering questions, she is at turns thoughtful and strident, seriously considering topics like her attempts at a brighter life and how Trump has affected her love of Americana, and also entirely unafraid to bat away questions she finds boring or irrelevant. At one point, she laughs so hard at a silly sidebar in our conversation that she has a coughing fit and has to take a break. She says she binge watches “The Bachelor,” and that while all of her friends now call her Lana—not Elizabeth Grant, her birth name—her parents are the two people who do not. She is wry about the new song “Groupie Love,” in which she writes herself not as the star but in the role of a worshipful devotee: “Old habits die hard—I still love a rock star.” When I ask her if she is bothered by TMZ dating rumors, which have recently speculated about her relationship with rapper G-Eazy, she gives an unexpectedly goading answer: “They’re usually true. Maybe where there’s smoke there’s fire.”
     
    Which is to say: She’s kinda regular, not the hardened artist we’ve heard in her songs, but someone, it would seem, who likes to hang out and chat about life and music. Talking about good times brings up memories of rough ones, and when the conversation veers towards rocky terrain, she reveals an artist—and a person—at a pivotal moment.
     
      Pitchfork: A few years ago you were singing lyrics like “I have nothing much to live for,” and now you’re smiling on the cover of Lust for Life. How’d you get to a happier place? Lana Del Rey: I made personal commitments.   Commitments to what? Well, they’re personal. [laughs] I had some people in my life that made me a worse person. I was not sure if I could step out of that box of familiarity, which was having a lot of people around me who had a lot of problems and feeling like that was home base. Because it’s all I know. I spent my whole life reasoning with crazy people. I felt like everyone deserved a chance, but they don’t. Sometimes you just have to step away without saying anything   Your past albums often presented a claustrophobic universe made up of just you and one other person, but all of a sudden it’s like you’ve got your eyes wide open and you’re looking at the world around you. Developmentally, I was in the same place for a very long time, and then it just took me longer than most people to be able to be more out there. Being more naturally shy, it’s taken stretching on my part to just continue to integrate into the local community, global community, to grow as a person. Also, getting really famous doesn’t help you grow with the community. It’s important to have your own life. It’s hard with how accessible things are. Hacking? Email is just a no for me. I do a lot to make sure I don’t feel trapped.   Your fans are famously obsessive. Do they ever cross the line? They fucking have. Someone stole both my cars. All the scary shit. I’ve had people in my house for sure, and I didn’t know they were there while I was there. I fucking called the police. I locked the door. Obviously, that’s the one in one-hundred-thousand people who’s crazy. But I [had a hard time sleeping] for a minute.   Fame can be isolating, but you are making a real effort to not let it be. It’s going to be isolating. Period. Unless you stretch past it. But it takes so much footwork. Getting over the uncomfortability of being the one person in the room who everyone recognizes. The last few years, I’m out all the time: clubs, bars, shows. For years I was more quietly in the mix, always through the back door, do not tell anyone I’m coming. And now I’ve relaxed into it where I’ll just show up. I don’t need a special ticket. I’ll just go sit wherever. It feels a little more like I’m myself again.
    If you’re happier these days, what do you think when you hear an old lyric from an old record, like, “He hit me and it felt like a kiss,” from “Ultraviolence”? I don’t like it. I don’t. I don’t sing it. I sing “Ultraviolence” but I don’t sing that line anymore. Having someone be aggressive in a relationship was the only relationship I knew. I’m not going to say that that [lyric] was 100 percent true, but I do feel comfortable saying what I was used to was a difficult, tumultuous relationship, and it wasn’t because of me. It didn’t come from my end.   Now you want to present a different face to the world on Lust for Life? No. I don’t care. I would just say I am different. And even being a little bit different makes me not want to sing that line. To me, it just was what it was. I deal with what’s in my lyric—you’re not dealing with it. I was annoyed when people would ask me about that lyric. Like, who are you?   Do you think you romanticize danger in your music? No. I don’t like it. It’s just the only thing [i’ve known]. So I’m trying to do a new thing. I never wrote better when I had a lot of turmoil going on. Born to Die was already done before any of the shit hit the fan. When things are good, the music is better. I’m trying to change from the way I thought things were gonna be to what I feel like they could be, which is maybe just brighter.   But, even with some new perspectives, Lust for Life is still very melancholy at moments. If you make sad music, which you’ve done for so long, does it necessarily mean you’re sad?Yeah. I think for most people, regardless of what they say, it’s probably a direct reflection of their inner world. With my first record, I didn’t feel upset. I felt very excited, and then I felt a little more confused.   After the release of Born to Die, you faced a lot of criticism, partly around the issue of whether you were or were not authentic. Do you think of yourself as authentic? Of course. I’m always being myself. They don’t know what authentic is. If you think of all the music that came out until 2013, it was super straight and shiny. If that’s authentic to you, this is going to look like the opposite. I think that shit is stylized. Just because I do my hair big does not mean I’m a product. If anything, I’m doing my own hair, stuffing my own fucking stuffing in there if I have a beehive. Music was in a super weird place when I became known, and I didn’t really like any of it   Did you ever feel like the criticism had a misogynistic bent? No. Women hated me. I know why. It’s because there were things I was saying that either they just couldn’t connect to or were maybe worried that, if they were in the same situation, it would put them in a vulnerable place.   You weren’t singing empowering things. No, I wasn’t. That wasn’t my angle. I didn’t really have an angle—that’s the thing.   Have you noticed that all songs on the radio are bummers now? That Lil Uzi Vert lyric—“All my friends are dead”—sounds almost like a Lana lyric. There’s been a major sonic shift culturally. I think I had a lot to do with that. I do. I hear a lot of music that sounds like those early records. It would be weird to say that it didn’t. I remember seven years ago I was trying to get a record deal, and people were like, “Are you kidding? These tunes? There’s zero market for this.” There was just such a long time where people had to fit into that pop box.   With all the flak you’ve received over the years, particularly after Born to Die, some people would have thrown in the towel. But you doubled down and made an even more fucked up, almost hyper-Lana record with Ultraviolence. I so double downed. [The early criticism] made me question myself—I didn’t know if it was always going to be that way. You can’t put out records if 90 percent of the reviews in places like the Times are going to be negative. That would be crazy. It would have made sense to step all the way back, but I was like, Let me put out three more records and see if I can just stand in the eye of the storm. Not shift too much. Let me just take some of the [production] off so you can hear things a little bit better; I thought people were maybe getting distracted. I did the same thing with Honeymoon. Everyone around here heard it and was like, “It’s a cool record, but you know it’s not going to be on the radio, right?” And I was like, “Yeah. I told [record executive] Jimmy [iovine] when I signed, ‘If you want to sign me, this is all it’s ever going to be.’” I was just so committed to making music because I believe in what I do. All I had to do was not quit.   So that Ultraviolence woman who is so swept up in turmoil—is she still there on Lust for Life? We’ll see. That’s been my experience up until now, but, like, I’m trying.   Some of the sparer, really heartfelt songs on Lust for Life reminded me of the Ultraviolence song “Black Beauty.” That’s a sad song. In that song—[sings] I keep my lips red like cherries in the spring/Darling, you can’t let everything seem so dark blue—that’s a girl who is still seeing the blue sky and a putting on a pop of color just for herself. But this [other] person—it was all black for them. And my world became inky with those overtones. [At this, Lana begins to cry, and we pause for a moment.]   What made you cry just now? In that moment, when I said “pop of color,” I was connected to that feeling of only being able to see a portion of the world in color. And when you feel that way, you can feel trapped.   Are you seeing the world in color now? [sighs] I don’t really know how to describe my perspective at the moment.   But you’re trying, and that’s what Lust for Life is about? It’s not. I don’t know what it’s about. I don’t know what it is.   Is the album a way of saying that you at least want to be happy? No. It’s just that something is happening.   What makes you happy? I’m really simple. I love nature. I like hikes. Being by the water—I don’t always get in. I love the elements. Playing an outdoor festival. Love that feeling.   What bums you out? Feeling like going backwards.   Is there a storyline to the album? Yeah.   What’s the story? You have to figure it out.
      Just a few years ago you were saying you didn’t care about feminism, and now you are writing protest songs and meditations on war and peace. Because things have shifted culturally. It’s more appropriate now than under the Obama administration, where at least everyone I knew felt safe. It was a good time. We were on the up-and-up. Women started to feel less safe under this administration instantly. What if they take away Planned Parenthood? What if we can’t get birth control? Now, when people ask me those questions, I feel a little differently. The reason why I asked Stevie Nicks to be on the record is because she changes when her environment changes, and I’m like that as well. In “When the World Was at War We Kept Dancing,” I wrote, “Boys, don’t make too much noise/Don’t try to be funny/Other people may not be understanding.” Like, Can you tone down your over-boisterous rhetoric that isn’t working? “God Bless America - And All the Beautiful Women in It” is a little shoutout to the women and anyone else who doesn’t always feel safe walking down the street late at night. That’s what I was thinking of when I wrote, “Even when I’m alone I’m not lonely/I feel your arms around me.” It’s not always how I feel when I’m walking down the street, but sometimes in my music I try to write about a place that I’m going to get to.   Do you feel unsafe? I feel less safe than I did when Obama was president. When you have a leader at the top of the pyramid who is casually being loud and funny about things like that, it’s brought up character defects in people who already have the propensity to be violent towards women. I saw it right away in L.A. Walking down the street, people would just say things to you that I had never heard. When people asked me the feminist question before, I was like, “I’m not really experiencing personal discrimination as a woman. I feel like I’m doing well. I headline shows just like the Weeknd does. I got tons of women in my life, love women, support women.” I just felt like, Why don’t we talk about the music first? I can tell you that what I have done for women is tell my own story, and that’s all anyone can do.   Is it harder to be romantic about America when Trump is the nation’s biggest celebrity? It’s certainly uncomfortable. I definitely changed my visuals on my tour videos. I’m not going to have the American flag waving while I’m singing “Born to Die.” It’s not going to happen. I’d rather have static. It’s a transitional period, and I’m super aware of that. I think it would be inappropriate to be in France with an American flag. It would feel weird to me now—it didn’t feel weird in 2013. All the guys in the studio—we didn’t know we were going to start walking in every day and talking about what was going on. We hadn’t ever done that before, but everyday during the election, you’d wake up and some new horrible thing was happening. Korea, with missiles suddenly being pointed at the western coast. With “When the World Was at War We Kept Dancing,” I was posing a real question to myself: Could this be the end of an era? The fall of Rome?   Nostalgia can be really corny when it’s not done well, and you’re all about nostalgia. How do you try to get it right? I know I walk the line sometimes. [laughs] I saw comments that people said about my little “Coachella - Woodstock in my Mind” song. I write that title and I’m like, OK, I know I went there. But I think it’s amazing. It’s on the nose. It’s so on the nose. But sometimes things just are what they are. I’m at Coachella for three days, and North Korea is pointing a missile at us, and I’m watching Father John Misty with my best friend, who’s his wife—that’s all I’m literally saying. It’s just like, Yeah, I’m a hipster. I know it. Got it.
      You mentioned working with Stevie Nicks on this album, what was it like recording with her? She came in straight off a plane from her last show of like 60 cities, which I was actually supposed to open for. She had asked me, and I was like, “Oh my god.” But I couldn’t because I don’t want to do a 60-show tour. She flew through the door. Blond highlights, rose gold glasses, gold-tipped nails, rose gold lipstick, gold chains, gold rings, black on black on black. Very stylish. And meanwhile, I looked like a housewife of 15—flannel on flannel, because it was a cold night. And I was like, Why did I not dress up for Stevie Nicks? At the end of the track, she sings, then I sing, then she sings. I was kinda embarrassed. I was like, “I sound so little compared to you.” And she was like, “That’s good, you’re my little echo.” And I was like, Stevie called me her little echo. It’s a stupid little thing, but she was very nurturing in that way, and not belittling of the fact that I had a more breathy voice. Which I wasn’t even aware of until I was shoulder-to-shoulder on a track with someone with less air in their voice. I felt a little more exposed in that moment. But she was like, “That’s you. You just be you.”   Speaking of musical icons, can you tell me about performing at Kim and Kanye’s wedding party? It was a surprise for Kim. I hadn’t met her. I sang “Young and Beautiful,” “Summertime Sadness,” “Blue Jeans.” Kanye requested “Young and Beautiful.” The girls—the Kardashians—were so nice. There was only one front row, just them, right there. They were living for it. They started playing Kanye and Jay-Z records for the rest of the thing and it rained and everyone was just up dancing in the rain. I stayed for like 40 minutes and then I left.
      People have made a big deal about that necklace you are selling that seems to have a coke spoon. Is it a coke spoon? Yeah. It’s funny. I have a flask and a lighter as well. I don’t do coke.   You’ve said in the past that you weren’t drinking either, and yet it turns up in your music. Do you drink now? No comment.   You sing about drugs and alcohol a lot. Not on this record. I well used to do a lot of drugs, but I actively don’t now.   What kind of drugs did you do? No comment. [laughs] But I think the coke spoon is kinda funny. I’m just like, Whatever. I don’t think it’s going to make anyone do coke.   Are you conscious of when you walk right up to a taboo in your work? Not really. That’s the one thing I don’t have my finger on. I am there, but there are times I don’t really know it. There’s certain stuff that I think is kinda dope that I know other people might be like, Okayyyyy.   Like singing about death? That’s real life though. Super real life.   You got a lot of shit for saying “I wish I was dead” to a journalist a few years ago. Fuck that guy, though. I didn’t think he would print it and make it the headline. I was having a really tough time. I had been on the road for a year. I was really struggling. I was just stupid, I was like, “I fucking want to die.” Maybe I meant it. I don’t really know.   Which of your albums is the most autobiographical? All of them. The last record—I listen to a song like “Terrence Loves You,” and I just really feel for myself at the time. The person I’m singing about—[sings] You are what you are/I don’t matter to anyone—did I really just say I don’t matter to anyone? That’s fucking crazy.   Did you feel that way? I guess so. I sang it.   What makes you feel proud? My records. I love my records. I love them. I’m proud of the way I’ve put parts of my story into songs in ways that only I understand. In terms of my gauge of what’s good, it’s really just what I think. I have an internal framework that is the only thing I measure it by. My own opinion is really important to me. It starts and stops there.  
  4. sparklrtrailrheaven liked a post in a topic by Kommander in Beautiful People Beautiful Problems   
    Lipsters, help a non-native speakers ! What is a "turtle dove" ? Like I know what a dove and a turtle are ; but I don't get "turtle dove". Who is she ? What kind of mutation is that ? Fukushima is shaken
  5. sparklrtrailrheaven liked a post in a topic by fool 4 luv in When The World Was At War We Kept Dancing   
    the way she sings "cut a rug"...................... lord gawd 
  6. sparklrtrailrheaven liked a post in a topic by Veinsineon in When The World Was At War We Kept Dancing   
    i cant be the only one who hears it
  7. sparklrtrailrheaven liked a post in a topic by COLACNT in When The World Was At War We Kept Dancing   
    i think its "curls and corsets"; as if they were time-pieces associated with a certain kind of femininity; memorized / immortalized into a song (or ~ manifesto ~), into cultural paradigms of female submission / passivity 
     
    plus, corsets are known for being tight and repressive, and she later sings 'get loose'. it makes sense given all the talk about the women's marches, not to mention the ~ political ~ title 
  8. sparklrtrailrheaven liked a post in a topic by Say Yes to Heaven in Tomorrow Never Came (ft. Sean Ono Lennon)   
    ok after relistening to the snippet over and over finally got the right lyrics
     
    "Why?
    Don't ask me why, why, why, why, why, why
    Lay lady lay
    And inside of paradise
    In the tropic of cancer
    'Cause if I had my way
    You would always stay
    and I"
  9. sparklrtrailrheaven liked a post in a topic by Make me your Dream Life in Tomorrow Never Came (ft. Sean Ono Lennon)   
    I'm so excited for this track. It just oozes the 70s. Make me groovy psychedelic queen
  10. sparklrtrailrheaven liked a post in a topic by TheBoss in TheBoss - New "LIFE IS BEAUTIFUL" Cover Art   
    "I might fuck with her all summer for real... Wrap you up in my daisy chains."
     
     

  11. sparklrtrailrheaven liked a post in a topic by TheBoss in TheBoss - New "LIFE IS BEAUTIFUL" Cover Art   
    Sharing a simple concept I had for White Mustang    
     
     
                                                              "Couldn't stop the way I was feeling the day your record dropped..."
     

     
    And here's some others with added textures
     
     
     
  12. sparklrtrailrheaven liked a post in a topic by TheBoss in TheBoss - New "LIFE IS BEAUTIFUL" Cover Art   
    "Lean into the fucking youth!"
     
                        Just an extremely simple concept for WTWWAWWKD (God Lana ) based on Lana's GL and SB covers uploaded to instagram
     

  13. AphroditeBaby liked a post in a topic by sparklrtrailrheaven in Best LFL Photoshoot (So Far)   
    Flaunt is the shoot I always knew I needed, but didn't expect Lana to deliver. She'll be hard-pressed to ever top such a perfect melding of present-day Lana and the past's Lizzy Grant, in my opinion. 
     
    In other words, the Flaunt shoot looked like a result of Lizzy's Myspace crawling from its grave, tapping Lana on the shoulder, and reminding her that Lizzy Grant never really died and is always going to be a part of her
  14. Kommander liked a post in a topic by sparklrtrailrheaven in Best LFL Photoshoot (So Far)   
    Flaunt is the shoot I always knew I needed, but didn't expect Lana to deliver. She'll be hard-pressed to ever top such a perfect melding of present-day Lana and the past's Lizzy Grant, in my opinion. 
     
    In other words, the Flaunt shoot looked like a result of Lizzy's Myspace crawling from its grave, tapping Lana on the shoulder, and reminding her that Lizzy Grant never really died and is always going to be a part of her
  15. SwayTokyo liked a post in a topic by sparklrtrailrheaven in Best LFL Photoshoot (So Far)   
    Flaunt is the shoot I always knew I needed, but didn't expect Lana to deliver. She'll be hard-pressed to ever top such a perfect melding of present-day Lana and the past's Lizzy Grant, in my opinion. 
     
    In other words, the Flaunt shoot looked like a result of Lizzy's Myspace crawling from its grave, tapping Lana on the shoulder, and reminding her that Lizzy Grant never really died and is always going to be a part of her
  16. sparklrtrailrheaven liked a post in a topic by LanaTrailer in Coyote's Stuff   
    This is the ugliest sh*t I've ever made lol

     



  17. sparklrtrailrheaven liked a post in a topic by Mafiosa in What Do Each of Lana's Albums Mean to You?   
    love this topic
     
    sirens: this album makes me feel like a pure white bird flying through gray haze - frantic, not knowing where to land or where to go. it's a journey down a dirt road in the blue april dawn. it reminds me of rainy days and safe feelings of years past. it gives me eerie vibes, but i love the spookiness and bareness of it. listening is clean, honest. nothing to hide. it can be unforgiving, though, and when i listen i'm often forced to go inward and look at myself. i love listening to sirens on foggy mornings, before the earth has come alive.
     
    aka: transports me to my own created home in my heart. where the waves crash blue, the nights fade into black velvet, and the lemonade is sweet under the bright sunshine. aka never fails to make me happy or nostalgic. it's her most "american" work for me and it feels really familiar, like i've heard it before through some cosmic pathway. it reminds me of all things kitsch and brings me immense comfort. i listen to it a lot outside on summer evenings. it's just so carefree, makes me sway contently. i actually get really in touch with my femininity with this album, it's nice.
     
     
    born to die: for me, this album represents opulence and absolute glamour. i don't connect it to a particular time in my life, but when i listen to it i can feel the solid gold production in my soul. it's such a loaded album, when i listen i feel like the beats are so heavy hitting and i see such vivid rich imagery, it's like a complete sensory experience. it's the album that can make me feel like a bad bitch gangster queen. although it's definitely a vulnerable album, it makes me feel confident just because of how bold it is. it always makes me excited and puts me in a good, high energy mood.
     
    paradise: this album is pristine. it's made of crystal and palm, bathed in the ocean. this one evokes the most connection for me. it reminds of cool fall nights where i would listen to this outside and it would be the happiest part of my days, weeks, months. for some reason, it feels like many many years since i was obsessed paradise. it makes me sad sometimes because i yearn to have those times back. it creates such a lush landscape for me. i was absolutely entranced by the sonic quality of the ep when i first heard it. it's a cinematic lynchian dream that pulls me into another stratosphere where i float on the melodies and strings.
     
    uv: wow... this one sparks the most raw emotion for me. brings out something primal almost, my inner wild child. when i listen i experience a slow but sure descent into madness. it reminds me of hot summers, which were confusing but ultimately happy. this album is completely personal to me, i listen and i hear lyrics about me, for me. it's not about relationships, alcohol, etc. it's all me and my anger, grief, anguish, bubbling and spilling over the top in 1 hour 8 minutes. i LOVE listening to uv while swimming, it's so perfect. and i remember listening to it on repeat repeat repeat until all the songs were ingrained in me and spoke something different to me. so yes i love uv for it's unhibitedness and rawness. it's perfect for letting your hair down and getting a bit ugly.
     
    hm: honeymoon is sooo dreamy. it makes me super happy because i was on vacation in disney world when it dropped so i had my two favorite things with me: lana and disney . the production has an air-like quality and i find that when i listen i feel like i'm gliding on ice.. it's really nice. hm reminds me of a spring filled with yellow flowers and friendly bees and soft grass. i listen to it while sunbathing a lot! the lyrics on this album are really touching to me & her vocals are stellar. there are so many layers and things to appreciate. this is my go to travel album bc it's easy, beautiful listening. it's an incredible record to lose yourself in. there's no fear or judgment when i listen, just peace and calm.
     
    i'll let you know about lfl when she drops
  18. sparklrtrailrheaven liked a post in a topic by Make me your Dream Life in What Do Each of Lana's Albums Mean to You?   
    Title. (So Far)

    Record per record, how does each record elicit any feelings from you?

    Like for me, more or less,
    Born to Die, makes me want to hustle. It's such a chaotic album for me to listen to through and through. I seldom go through the album without feeling a bit anxious (though in a good way) and just simply wanting more from life.

    Paradise is well, paradise. It really helps me just detox away my feelings of sadness, doubts and fears. It's like that moment of clarity after having a good genuine sob. I used to listen to it in bed, and fall asleep with it on replay til morning. It's a good way of flushing out a lot of repressed feelings. 

    Ultraviolence, I feel has more rage than her other records, and I don't like listening to it through and through, bc it just makes me feel, low. There are so many amazing tracks on it so I listen to it on shuffle most of the time. It's amazing for night drives when I've got so much in my mind. It guides me towards a better place to making peace with problems that come around me. It disturbs me the most as a record, it's a dark place to easily visit, so I usually don't..

    Honeymoon makes me feel at peace. I know there are moments in it with subtle friction of lost loves, and attempts of making amends with it, but it just gives me a sense of warmth. Listening to it in downtown really contrasts with it when I listen to it in the suburbs, and I like the duality of what the album brings to it, and I think it's title track, is one of the most eerie and frightening tracks I've ever heard. It really depends on my mental state, but it's just so easy to be sucked into it's soundscape.


    I want to know how Lust for Life makes me feel. Right now, the tracks have a somber kind of hope, a sort of awareness, and present-ness with today's day and age. It makes me worry, not because I'm not necessarily used to its sound yet, but just because of the album's apparent integration with our own society even more so than Lana's songs. Maybe because we all have a sense that the world today is more fucked up than it's earlier years. I just hope that Lust for Life brings a solid stream of hope and strength for obstacles that we might all face. 


    So, what does each record evoke out from you? 
  19. sparklrtrailrheaven liked a post in a topic by La Dolce Vita in 13 Beaches   
    The opening monologue is:   "...That's what it is Something separates me from other people  And what will I do?  There's something blocking my escape..."   It's derived from an old horror flick called Carnival of Souls (1962). David Lynch has cited it as one of his biggest inspirations. I just finished watching it- dope movie laden with a purgatorial theme.
     
    1:14:10 -
     

     
    The main character in the film is continuously haunted by a legion of ghouls- they won't leave her the fuck alone. It explores the metaphysical terrain of a nightmare and its main trope is paranoia which reminded me of what Lana said regarding the video for High By The Beach. The movie also ends on a beach which dovetails with Lana's narrative for 13 Beaches. I can't wait to hear this song in full! Love u Lana. 
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