sparklrtrailrheaven

I'm so in love with these songs, and all the creative decisions she's making -- I've never been so excited for an album, nonetheless one by Lana. 
 
I have so many thoughts right now
 
Like, as much as I loved LFL, it seems like such an anticlimax compared to this. It's fun enough to listen to, but it really does feel empty compared to what she's given us here, already. I already love this for the same reasons I love AKA so damn much: it's Lana pursuing what she's passionate about, creating extremely unique, layered music. There's thought, soul, and inspiration behind it, and it shows. 
 
As for how strongly the era is already dividing the fans, I think it's brilliant. I haven't seen such outrage or vitriol directed at Lana for her creative choices since Born to Die, and I think it's absolutely amazing this time around, because she's consciously making provocative decisions. Like, you can't title an album Norman Fucking Rockwell without knowing it's going to give you some hell. This is the same woman, the same provocateur, that once raised eyebrows in the extreme for opening a track with the line "My pussy tastes like Pepsi-Cola". She's back.
 
I love that, especially with Venice Bitch, she's returning to that idea of nostalgia and classic Americana that we haven't seen in years and years, but as someone here said (apologies that I can't remember who), it's matured. She's become the most adept at writing in her own style that she's ever, ever been, successfully combining her starry-eyed view of the past and America (hence the reference to Rockwell, who painted an idealistic, wholesome America) with the reckless abandon and controversial attitude that made her famous in the first place, which leads us to the big ol' "fucking" slapped right in the middle of the name of an American icon.  It's heart without excessive sentimentality, and attitude without bitterness. 
 
I think these things combined (and things we have yet to see) will propel NFR to classic-level, like Born to Die or moreso -- maybe not in terms of widespread fan adoration, but in terms of being a stylish, smart, thoughtful and timeless record. 
 
I'm over the moon 

i usually never even venture into the pre-release threads but i want to talk so much about this era, this concept, her mind, UGH

norman  
 FUCKING
 rockwell

I'm so in love with these songs, and all the creative decisions she's making -- I've never been so excited for an album, nonetheless one by Lana. 
 
I have so many thoughts right now
 
Like, as much as I loved LFL, it seems like such an anticlimax compared to this. It's fun enough to listen to, but it really does feel empty compared to what she's given us here, already. I already love this for the same reasons I love AKA so damn much: it's Lana pursuing what she's passionate about, creating extremely unique, layered music. There's thought, soul, and inspiration behind it, and it shows. 
 
As for how strongly the era is already dividing the fans, I think it's brilliant. I haven't seen such outrage or vitriol directed at Lana for her creative choices since Born to Die, and I think it's absolutely amazing this time around, because she's consciously making provocative decisions. Like, you can't title an album Norman Fucking Rockwell without knowing it's going to give you some hell. This is the same woman, the same provocateur, that once raised eyebrows in the extreme for opening a track with the line "My pussy tastes like Pepsi-Cola". She's back.
 
I love that, especially with Venice Bitch, she's returning to that idea of nostalgia and classic Americana that we haven't seen in years and years, but as someone here said (apologies that I can't remember who), it's matured. She's become the most adept at writing in her own style that she's ever, ever been, successfully combining her starry-eyed view of the past and America (hence the reference to Rockwell, who painted an idealistic, wholesome America) with the reckless abandon and controversial attitude that made her famous in the first place, which leads us to the big ol' "fucking" slapped right in the middle of the name of an American icon.  It's heart without excessive sentimentality, and attitude without bitterness. 
 
I think these things combined (and things we have yet to see) will propel NFR to classic-level, like Born to Die or moreso -- maybe not in terms of widespread fan adoration, but in terms of being a stylish, smart, thoughtful and timeless record. 
 
I'm over the moon 

norman  
 FUCKING
 rockwell

it's obviously the same MAC situation where it isn't really a music video BUT
 
i enjoyed this much more than MAC. like, i have no desire to watch MAC again. however i do want to watch this on repeat. the hell.

still can't believe it lolz

I'm so in love with these songs, and all the creative decisions she's making -- I've never been so excited for an album, nonetheless one by Lana. 
 
I have so many thoughts right now
 
Like, as much as I loved LFL, it seems like such an anticlimax compared to this. It's fun enough to listen to, but it really does feel empty compared to what she's given us here, already. I already love this for the same reasons I love AKA so damn much: it's Lana pursuing what she's passionate about, creating extremely unique, layered music. There's thought, soul, and inspiration behind it, and it shows. 
 
As for how strongly the era is already dividing the fans, I think it's brilliant. I haven't seen such outrage or vitriol directed at Lana for her creative choices since Born to Die, and I think it's absolutely amazing this time around, because she's consciously making provocative decisions. Like, you can't title an album Norman Fucking Rockwell without knowing it's going to give you some hell. This is the same woman, the same provocateur, that once raised eyebrows in the extreme for opening a track with the line "My pussy tastes like Pepsi-Cola". She's back.
 
I love that, especially with Venice Bitch, she's returning to that idea of nostalgia and classic Americana that we haven't seen in years and years, but as someone here said (apologies that I can't remember who), it's matured. She's become the most adept at writing in her own style that she's ever, ever been, successfully combining her starry-eyed view of the past and America (hence the reference to Rockwell, who painted an idealistic, wholesome America) with the reckless abandon and controversial attitude that made her famous in the first place, which leads us to the big ol' "fucking" slapped right in the middle of the name of an American icon.  It's heart without excessive sentimentality, and attitude without bitterness. 
 
I think these things combined (and things we have yet to see) will propel NFR to classic-level, like Born to Die or moreso -- maybe not in terms of widespread fan adoration, but in terms of being a stylish, smart, thoughtful and timeless record. 
 
I'm over the moon 

I'm so in love with these songs, and all the creative decisions she's making -- I've never been so excited for an album, nonetheless one by Lana. 
 
I have so many thoughts right now
 
Like, as much as I loved LFL, it seems like such an anticlimax compared to this. It's fun enough to listen to, but it really does feel empty compared to what she's given us here, already. I already love this for the same reasons I love AKA so damn much: it's Lana pursuing what she's passionate about, creating extremely unique, layered music. There's thought, soul, and inspiration behind it, and it shows. 
 
As for how strongly the era is already dividing the fans, I think it's brilliant. I haven't seen such outrage or vitriol directed at Lana for her creative choices since Born to Die, and I think it's absolutely amazing this time around, because she's consciously making provocative decisions. Like, you can't title an album Norman Fucking Rockwell without knowing it's going to give you some hell. This is the same woman, the same provocateur, that once raised eyebrows in the extreme for opening a track with the line "My pussy tastes like Pepsi-Cola". She's back.
 
I love that, especially with Venice Bitch, she's returning to that idea of nostalgia and classic Americana that we haven't seen in years and years, but as someone here said (apologies that I can't remember who), it's matured. She's become the most adept at writing in her own style that she's ever, ever been, successfully combining her starry-eyed view of the past and America (hence the reference to Rockwell, who painted an idealistic, wholesome America) with the reckless abandon and controversial attitude that made her famous in the first place, which leads us to the big ol' "fucking" slapped right in the middle of the name of an American icon.  It's heart without excessive sentimentality, and attitude without bitterness. 
 
I think these things combined (and things we have yet to see) will propel NFR to classic-level, like Born to Die or moreso -- maybe not in terms of widespread fan adoration, but in terms of being a stylish, smart, thoughtful and timeless record. 
 
I'm over the moon 

this is the face she makes when saying the title out loud 

yeah some of his art presents this super-wholesome image of America and kind of helped shape that image we have today of the 40s and 50s being such clean-cut, warm years
 
i'm a huge fan but that's also why it's so funny and bold of lana to slap "fucking" right in the middle of his name

i already buried the loons they're dead to me like it feels like she's been stalled out but now she's taking a big, definitive step, and i don't think it's one she's gonna retreat from tbh 
 
 
ofc you did! icon!!!!!!!!

yeah some of his art presents this super-wholesome image of America and kind of helped shape that image we have today of the 40s and 50s being such clean-cut, warm years
 
i'm a huge fan but that's also why it's so funny and bold of lana to slap "fucking" right in the middle of his name

I'm so in love with these songs, and all the creative decisions she's making -- I've never been so excited for an album, nonetheless one by Lana. 
 
I have so many thoughts right now
 
Like, as much as I loved LFL, it seems like such an anticlimax compared to this. It's fun enough to listen to, but it really does feel empty compared to what she's given us here, already. I already love this for the same reasons I love AKA so damn much: it's Lana pursuing what she's passionate about, creating extremely unique, layered music. There's thought, soul, and inspiration behind it, and it shows. 
 
As for how strongly the era is already dividing the fans, I think it's brilliant. I haven't seen such outrage or vitriol directed at Lana for her creative choices since Born to Die, and I think it's absolutely amazing this time around, because she's consciously making provocative decisions. Like, you can't title an album Norman Fucking Rockwell without knowing it's going to give you some hell. This is the same woman, the same provocateur, that once raised eyebrows in the extreme for opening a track with the line "My pussy tastes like Pepsi-Cola". She's back.
 
I love that, especially with Venice Bitch, she's returning to that idea of nostalgia and classic Americana that we haven't seen in years and years, but as someone here said (apologies that I can't remember who), it's matured. She's become the most adept at writing in her own style that she's ever, ever been, successfully combining her starry-eyed view of the past and America (hence the reference to Rockwell, who painted an idealistic, wholesome America) with the reckless abandon and controversial attitude that made her famous in the first place, which leads us to the big ol' "fucking" slapped right in the middle of the name of an American icon.  It's heart without excessive sentimentality, and attitude without bitterness. 
 
I think these things combined (and things we have yet to see) will propel NFR to classic-level, like Born to Die or moreso -- maybe not in terms of widespread fan adoration, but in terms of being a stylish, smart, thoughtful and timeless record. 
 
I'm over the moon 

i already buried the loons they're dead to me like it feels like she's been stalled out but now she's taking a big, definitive step, and i don't think it's one she's gonna retreat from tbh 
 
 
ofc you did! icon!!!!!!!!

THIS IS SO LANA. fuck the glam, fuck the trap beats, fuck the generic "pop". this is HER in the rawest form. the guitars and the pianos are flowing from her heart and mind all together and it's so cohesive and pure sounding. i can't even DESCRIBE how natural the sound is. it's not forced at all, she really just let her inner mind and soul come to life. NFR <3

1/2 of me hopes I'm onto something cause it's a genuinely crazy n beautiful thing but fuck the other part of me
 
i just want more autotuned loons and whale noises it's been 6 fucking years Venice Bitch is easily top10 in her entire discography and i love it but FUCK me i want some more LOONS lana     

I'm so in love with these songs, and all the creative decisions she's making -- I've never been so excited for an album, nonetheless one by Lana. 
 
I have so many thoughts right now
 
Like, as much as I loved LFL, it seems like such an anticlimax compared to this. It's fun enough to listen to, but it really does feel empty compared to what she's given us here, already. I already love this for the same reasons I love AKA so damn much: it's Lana pursuing what she's passionate about, creating extremely unique, layered music. There's thought, soul, and inspiration behind it, and it shows. 
 
As for how strongly the era is already dividing the fans, I think it's brilliant. I haven't seen such outrage or vitriol directed at Lana for her creative choices since Born to Die, and I think it's absolutely amazing this time around, because she's consciously making provocative decisions. Like, you can't title an album Norman Fucking Rockwell without knowing it's going to give you some hell. This is the same woman, the same provocateur, that once raised eyebrows in the extreme for opening a track with the line "My pussy tastes like Pepsi-Cola". She's back.
 
I love that, especially with Venice Bitch, she's returning to that idea of nostalgia and classic Americana that we haven't seen in years and years, but as someone here said (apologies that I can't remember who), it's matured. She's become the most adept at writing in her own style that she's ever, ever been, successfully combining her starry-eyed view of the past and America (hence the reference to Rockwell, who painted an idealistic, wholesome America) with the reckless abandon and controversial attitude that made her famous in the first place, which leads us to the big ol' "fucking" slapped right in the middle of the name of an American icon.  It's heart without excessive sentimentality, and attitude without bitterness. 
 
I think these things combined (and things we have yet to see) will propel NFR to classic-level, like Born to Die or moreso -- maybe not in terms of widespread fan adoration, but in terms of being a stylish, smart, thoughtful and timeless record. 
 
I'm over the moon 

10 minutes and it goes by too fast. 

GIRL i love this theory so fucking much i'm gonna shed real tears
 
Norman Fucking Rockwell era already making me feel like the drunk girl @ the party telling everyone she loves them.... i have so many feelings rn and they're all positive

I'm so in love with these songs, and all the creative decisions she's making -- I've never been so excited for an album, nonetheless one by Lana. 
 
I have so many thoughts right now
 
Like, as much as I loved LFL, it seems like such an anticlimax compared to this. It's fun enough to listen to, but it really does feel empty compared to what she's given us here, already. I already love this for the same reasons I love AKA so damn much: it's Lana pursuing what she's passionate about, creating extremely unique, layered music. There's thought, soul, and inspiration behind it, and it shows. 
 
As for how strongly the era is already dividing the fans, I think it's brilliant. I haven't seen such outrage or vitriol directed at Lana for her creative choices since Born to Die, and I think it's absolutely amazing this time around, because she's consciously making provocative decisions. Like, you can't title an album Norman Fucking Rockwell without knowing it's going to give you some hell. This is the same woman, the same provocateur, that once raised eyebrows in the extreme for opening a track with the line "My pussy tastes like Pepsi-Cola". She's back.
 
I love that, especially with Venice Bitch, she's returning to that idea of nostalgia and classic Americana that we haven't seen in years and years, but as someone here said (apologies that I can't remember who), it's matured. She's become the most adept at writing in her own style that she's ever, ever been, successfully combining her starry-eyed view of the past and America (hence the reference to Rockwell, who painted an idealistic, wholesome America) with the reckless abandon and controversial attitude that made her famous in the first place, which leads us to the big ol' "fucking" slapped right in the middle of the name of an American icon.  It's heart without excessive sentimentality, and attitude without bitterness. 
 
I think these things combined (and things we have yet to see) will propel NFR to classic-level, like Born to Die or moreso -- maybe not in terms of widespread fan adoration, but in terms of being a stylish, smart, thoughtful and timeless record. 
 
I'm over the moon 

I'm not gonna place this with her 'LDR' discography personally, i know it sounds a bit cheesy but it fits better looking at her Lizzy Grant section imho; of course her lifelong discography would be the two "lists" compiled together but I can't deny that the title, while bad sounding for a LDR record- is perfect for something we'd expect from her pre-BtD, pre-blowup, pre-pop altogether. Even the damn cover isn't her in glam with a headshot, like every other LDR record was; it's just her set to a slice of life setting that evokes emotion, much like her AKA cover
 
jus..idk hear me out n think about it
 
 
Sirens
Kill Kill
Lizzy Grant AKA Lana Del Ray
Norman Fucking Rockwell
 
---
 
Born to Die
Paradise
Ultraviolence
Honeymoon
Lust for Life
 
it also lowkey psyches me out seeing how complete of a story her LDR discography is, like it is a genuine study somebody could conduct and write tens of pages and essays on. The first ever opening instrumental to LDRs discog is from "Born to Die" with opulent violins and grandiose emotion; "Feet don't fail me now, take me to that finish line"
 
& with Get Free the first line is literally "Finally, I'm crossing the threshold from the ordinary world- to the reveal of my heart"- and ends  the semi-opulence we saw at the front of LfL and replaces it with ocean sounds- the exact opposite of the layered more modern production seen in BtD, something more down to Earth and grounded in realism and sanctity. even looking at the titles of the LDR records it tells a story, from the 3 words to the 1 and then finishing at the 3. 
 
While I hope to god she doesn't fade her glamorous persona for good I sincerely wouldn't be surprised if "Lana Del Rey" was over; or I'm being a casual fag and reading into things way too much and she'll go back to a LfL/Paradise sounds with more formulaic and boppier beats for LDR7 and completely shatter this theory

I'm so in love with these songs, and all the creative decisions she's making -- I've never been so excited for an album, nonetheless one by Lana. 
 
I have so many thoughts right now
 
Like, as much as I loved LFL, it seems like such an anticlimax compared to this. It's fun enough to listen to, but it really does feel empty compared to what she's given us here, already. I already love this for the same reasons I love AKA so damn much: it's Lana pursuing what she's passionate about, creating extremely unique, layered music. There's thought, soul, and inspiration behind it, and it shows. 
 
As for how strongly the era is already dividing the fans, I think it's brilliant. I haven't seen such outrage or vitriol directed at Lana for her creative choices since Born to Die, and I think it's absolutely amazing this time around, because she's consciously making provocative decisions. Like, you can't title an album Norman Fucking Rockwell without knowing it's going to give you some hell. This is the same woman, the same provocateur, that once raised eyebrows in the extreme for opening a track with the line "My pussy tastes like Pepsi-Cola". She's back.
 
I love that, especially with Venice Bitch, she's returning to that idea of nostalgia and classic Americana that we haven't seen in years and years, but as someone here said (apologies that I can't remember who), it's matured. She's become the most adept at writing in her own style that she's ever, ever been, successfully combining her starry-eyed view of the past and America (hence the reference to Rockwell, who painted an idealistic, wholesome America) with the reckless abandon and controversial attitude that made her famous in the first place, which leads us to the big ol' "fucking" slapped right in the middle of the name of an American icon.  It's heart without excessive sentimentality, and attitude without bitterness. 
 
I think these things combined (and things we have yet to see) will propel NFR to classic-level, like Born to Die or moreso -- maybe not in terms of widespread fan adoration, but in terms of being a stylish, smart, thoughtful and timeless record. 
 
I'm over the moon 

I'm so in love with these songs, and all the creative decisions she's making -- I've never been so excited for an album, nonetheless one by Lana. 
 
I have so many thoughts right now
 
Like, as much as I loved LFL, it seems like such an anticlimax compared to this. It's fun enough to listen to, but it really does feel empty compared to what she's given us here, already. I already love this for the same reasons I love AKA so damn much: it's Lana pursuing what she's passionate about, creating extremely unique, layered music. There's thought, soul, and inspiration behind it, and it shows. 
 
As for how strongly the era is already dividing the fans, I think it's brilliant. I haven't seen such outrage or vitriol directed at Lana for her creative choices since Born to Die, and I think it's absolutely amazing this time around, because she's consciously making provocative decisions. Like, you can't title an album Norman Fucking Rockwell without knowing it's going to give you some hell. This is the same woman, the same provocateur, that once raised eyebrows in the extreme for opening a track with the line "My pussy tastes like Pepsi-Cola". She's back.
 
I love that, especially with Venice Bitch, she's returning to that idea of nostalgia and classic Americana that we haven't seen in years and years, but as someone here said (apologies that I can't remember who), it's matured. She's become the most adept at writing in her own style that she's ever, ever been, successfully combining her starry-eyed view of the past and America (hence the reference to Rockwell, who painted an idealistic, wholesome America) with the reckless abandon and controversial attitude that made her famous in the first place, which leads us to the big ol' "fucking" slapped right in the middle of the name of an American icon.  It's heart without excessive sentimentality, and attitude without bitterness. 
 
I think these things combined (and things we have yet to see) will propel NFR to classic-level, like Born to Die or moreso -- maybe not in terms of widespread fan adoration, but in terms of being a stylish, smart, thoughtful and timeless record. 
 
I'm over the moon 

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