sparklrtrailrheaven

okay omg i am DEAD at this manip and did this on my phone quickly but its a cute concept 
 

Welcome to the Lana Del Ray post-release thread, a place to collect information on, discuss, and appreciate Lana’s 2010 debut album! 
 

 
Tracklist:
1. Kill Kill
2. Queen of the Gas Station
3. Oh Say Can You See
4. Gramma (Blue Ribbon Sparkler Trailer Heaven)
5. For K, Pt. 2
6. Jump
7. Mermaid Motel
8. Raise Me Up (Mississippi South)
9. Pawn Shop Blues
10. Brite Lites
11. Put Me in a Movie
12. Smarty
13. Yayo 
 
While Lana Del Ray (commonly known as AKA) wasn’t Lana’s first studio album -- that honor goes to Sirens -- it was her debut on a record label, and her first album to be sold commercially. AKA’s history was turbulent, which probably owes to much of the mystery and misinformation that surrounds the album today:
 
 
As noted above, the formation of AKA brought about many demos and outtakes that didn’t make the final cut, including Lizzy’s collaborations with producer Steven Mertens. Below is a helpful guide to the AKA demos, along with information on unused tracks recorded with both Mertens and David Kahne:
 
 
Lana’s promotion of her music during the AKA era included interviews, frequent live performances, and perhaps most distinctively, the creation of self-assembled music videos for most of the tracks on the album, much like the “Video Games” visuals that would propel her to stardom in 2011. Below are a selection of these videos, plus relevant fan creations: 
 
 
 
Lastly, here are some helpful links for further info and exploration of AKA:
 
 
 

I listened to Lana Del Ray again tonight, for the millionth time-- my feelings haven't changed. This album is genius, and it definitely saddens me that Lana will likely never return to this set of aesthetics and style of music.
 
However, the genius of AKA is not *just* Lana. I give a sizable part of my respect for the album to David Kahne, as well. While Lana created killer melodies, lyrics, and concepts that would work extremely well under the guidance of any producer, Kahne had the perfect touch to push the songs from "excellent" to "god-like", in my opinion. 
 
It definitely deserves repeat listens-- some subtle flourishes Kahne brought in are best noticed after you've been bowled over a few times by Lana's handiwork with the stories told and pictures painted here. To me, the perfect example of Kahne's "Midas touch" on AKA is "Pawn Shop Blues". As evidenced by a live performance and a demo, PSB was a staggeringly beautiful, tender, and poignant track when Lana was doing it on her own. However, Kahne took it to another level-- while PSB in its raw state is mournful and brimming with sadness, Kahne's instrumentation gives it depth-- it goes from being a "sad" song to something better described as "bittersweet". With the angelic echoes and trembling guitars, Kahne doesn't detract at all from Lana's lyrics-- instead, he gives them deeper meaning and manifold facets. Pawn Shop Blues becomes, all at once, a hopeful look at living for a purpose outside of yourself, a melancholy assertion on the nature of love and loss, and a somber reminder of how one can lose it all for nothing. With these extra dimensions, the track becomes infinitely interesting, as it's hard to tell where the hope begins and the desperation ends. 
 
I'm rambling-- my point being, AKA is an absolutely genius record that I'll love 'til the day I die, and both David Kahne and Lana are geniuses for putting just the right elements in just the right places to create an album that is cohesive yet kaleidoscopic, and that has so many facets and subtleties that it demands repeat listens. Fabulous. Please continue sharing info and thoughts on AKA here, because it means the world to me and I want to know all there is to know about it!
 
Thanks for reading all this 

Imagine the music she would've made if AKA had taken off, though... 

I'm sensing some negativity, no? Let's keep this civil and on-topic, okay? 

Welcome to the Lana Del Ray post-release thread, a place to collect information on, discuss, and appreciate Lana’s 2010 debut album! 
 

 
Tracklist:
1. Kill Kill
2. Queen of the Gas Station
3. Oh Say Can You See
4. Gramma (Blue Ribbon Sparkler Trailer Heaven)
5. For K, Pt. 2
6. Jump
7. Mermaid Motel
8. Raise Me Up (Mississippi South)
9. Pawn Shop Blues
10. Brite Lites
11. Put Me in a Movie
12. Smarty
13. Yayo 
 
While Lana Del Ray (commonly known as AKA) wasn’t Lana’s first studio album -- that honor goes to Sirens -- it was her debut on a record label, and her first album to be sold commercially. AKA’s history was turbulent, which probably owes to much of the mystery and misinformation that surrounds the album today:
 
 
As noted above, the formation of AKA brought about many demos and outtakes that didn’t make the final cut, including Lizzy’s collaborations with producer Steven Mertens. Below is a helpful guide to the AKA demos, along with information on unused tracks recorded with both Mertens and David Kahne:
 
 
Lana’s promotion of her music during the AKA era included interviews, frequent live performances, and perhaps most distinctively, the creation of self-assembled music videos for most of the tracks on the album, much like the “Video Games” visuals that would propel her to stardom in 2011. Below are a selection of these videos, plus relevant fan creations: 
 
 
 
Lastly, here are some helpful links for further info and exploration of AKA:
 
 
 

Imagine the music she would've made if AKA had taken off, though... 

I've only recently started listening to their music, due to my brother stanning them, so I really only know stuff from Blurryface well (#fakefan )
 
but their music is so good and has such a unique sound and very REAL lyrics and they're both beautiful, so slay a lot 

I've only recently started listening to their music, due to my brother stanning them, so I really only know stuff from Blurryface well (#fakefan )
 
but their music is so good and has such a unique sound and very REAL lyrics and they're both beautiful, so slay a lot 

Lana Del Rey: The Complete Visual Experience
 

 
 
 
Hey Guys! Finally, I finished to upload all of her videos some of them took ages because my internet connection is average and some of the files are +500 MB, so here's my video masterpost (I swear I didn't copy delreygram ).
So I tried to collect all of her videos in the highest quality that I could find (these are not Youtube Rips), for the home-made ones I prefer the original quality rather than upscaled HD, here's a list of all the videos correct me if there's a mistake please and enjoy! PM me if you want the link
 
LIST OF VIDEOS
 
 
 
 
And here's some screencaps of the video quality
 
 
 

I've only recently started listening to their music, due to my brother stanning them, so I really only know stuff from Blurryface well (#fakefan )
 
but their music is so good and has such a unique sound and very REAL lyrics and they're both beautiful, so slay a lot 

I've only recently started listening to their music, due to my brother stanning them, so I really only know stuff from Blurryface well (#fakefan )
 
but their music is so good and has such a unique sound and very REAL lyrics and they're both beautiful, so slay a lot 

twenty one pilots -  iTunes   Spotify

 

regional at best - download 

 

 

 

 

 

 



 

 

 

 

 

 

vessel - iTunes Spotify

 

blurryface - iTunes Spotify

 

 

 

 

 



 



 

download for free at www.twentyonepilots.com or purchase through iTunes

 

 



 



 



 



 



 



 



 



 

 

 

 

 



 

thought id post these kinda 'old' covers
 
lana del ray alt covers (recoloured from scratch)


 
scarface:

 
some weird honeymoon promo thing i made on my phone like last august with my old logo aww (might try and re do this  )


 
hope u guys like!!!

This is the original
 

Spoiler
 
 


 
I can't between the words on the right ;_;
What do you guys think? I literally spent two hours on this simple looking thing..  

Don't give up! I actually like this UV cover a lot. I think we're in the same boat in that we have cool concepts in mind, we just don't know how to execute them with PS or whatever other program.
 
But, keep at it! I'm still trying, too 

Well anything's possible given the absence of any discussion about it. But if she wanted to re-release and her (new) label prevented it (i.e., it was certainly not 5 points as they had the most to gain from it), I'd be curious as to how their motivations were stated (and LDR might have talked about that to give closure to the album). However, my default position has to be that it was LDR's call, as she's said on occasion that the label let's her do what she wants. Perhaps her reasons are similar to why Alanis Morrissette and Tori Amos never re-released their initial work, although I'm not too clear on their motivations either.

After disgusting attempt to use PS, I tried to do better
 
 

 
I did honestly nothing to this. I can't even call it "fan art". But I did re-shaped her face because it looked so weird on the original
 

Her face looks like it has been pressed.. 
 

 
still horrible. What I only touched is the lips and still. I think I am not a Photoshop person at all.
Don't leave hate I know it's horrible. there is no need for reminders

I listened to Lana Del Ray again tonight, for the millionth time-- my feelings haven't changed. This album is genius, and it definitely saddens me that Lana will likely never return to this set of aesthetics and style of music.
 
However, the genius of AKA is not *just* Lana. I give a sizable part of my respect for the album to David Kahne, as well. While Lana created killer melodies, lyrics, and concepts that would work extremely well under the guidance of any producer, Kahne had the perfect touch to push the songs from "excellent" to "god-like", in my opinion. 
 
It definitely deserves repeat listens-- some subtle flourishes Kahne brought in are best noticed after you've been bowled over a few times by Lana's handiwork with the stories told and pictures painted here. To me, the perfect example of Kahne's "Midas touch" on AKA is "Pawn Shop Blues". As evidenced by a live performance and a demo, PSB was a staggeringly beautiful, tender, and poignant track when Lana was doing it on her own. However, Kahne took it to another level-- while PSB in its raw state is mournful and brimming with sadness, Kahne's instrumentation gives it depth-- it goes from being a "sad" song to something better described as "bittersweet". With the angelic echoes and trembling guitars, Kahne doesn't detract at all from Lana's lyrics-- instead, he gives them deeper meaning and manifold facets. Pawn Shop Blues becomes, all at once, a hopeful look at living for a purpose outside of yourself, a melancholy assertion on the nature of love and loss, and a somber reminder of how one can lose it all for nothing. With these extra dimensions, the track becomes infinitely interesting, as it's hard to tell where the hope begins and the desperation ends. 
 
I'm rambling-- my point being, AKA is an absolutely genius record that I'll love 'til the day I die, and both David Kahne and Lana are geniuses for putting just the right elements in just the right places to create an album that is cohesive yet kaleidoscopic, and that has so many facets and subtleties that it demands repeat listens. Fabulous. Please continue sharing info and thoughts on AKA here, because it means the world to me and I want to know all there is to know about it!
 
Thanks for reading all this 

I listened to Lana Del Ray again tonight, for the millionth time-- my feelings haven't changed. This album is genius, and it definitely saddens me that Lana will likely never return to this set of aesthetics and style of music.
 
However, the genius of AKA is not *just* Lana. I give a sizable part of my respect for the album to David Kahne, as well. While Lana created killer melodies, lyrics, and concepts that would work extremely well under the guidance of any producer, Kahne had the perfect touch to push the songs from "excellent" to "god-like", in my opinion. 
 
It definitely deserves repeat listens-- some subtle flourishes Kahne brought in are best noticed after you've been bowled over a few times by Lana's handiwork with the stories told and pictures painted here. To me, the perfect example of Kahne's "Midas touch" on AKA is "Pawn Shop Blues". As evidenced by a live performance and a demo, PSB was a staggeringly beautiful, tender, and poignant track when Lana was doing it on her own. However, Kahne took it to another level-- while PSB in its raw state is mournful and brimming with sadness, Kahne's instrumentation gives it depth-- it goes from being a "sad" song to something better described as "bittersweet". With the angelic echoes and trembling guitars, Kahne doesn't detract at all from Lana's lyrics-- instead, he gives them deeper meaning and manifold facets. Pawn Shop Blues becomes, all at once, a hopeful look at living for a purpose outside of yourself, a melancholy assertion on the nature of love and loss, and a somber reminder of how one can lose it all for nothing. With these extra dimensions, the track becomes infinitely interesting, as it's hard to tell where the hope begins and the desperation ends. 
 
I'm rambling-- my point being, AKA is an absolutely genius record that I'll love 'til the day I die, and both David Kahne and Lana are geniuses for putting just the right elements in just the right places to create an album that is cohesive yet kaleidoscopic, and that has so many facets and subtleties that it demands repeat listens. Fabulous. Please continue sharing info and thoughts on AKA here, because it means the world to me and I want to know all there is to know about it!
 
Thanks for reading all this 

I listened to Lana Del Ray again tonight, for the millionth time-- my feelings haven't changed. This album is genius, and it definitely saddens me that Lana will likely never return to this set of aesthetics and style of music.
 
However, the genius of AKA is not *just* Lana. I give a sizable part of my respect for the album to David Kahne, as well. While Lana created killer melodies, lyrics, and concepts that would work extremely well under the guidance of any producer, Kahne had the perfect touch to push the songs from "excellent" to "god-like", in my opinion. 
 
It definitely deserves repeat listens-- some subtle flourishes Kahne brought in are best noticed after you've been bowled over a few times by Lana's handiwork with the stories told and pictures painted here. To me, the perfect example of Kahne's "Midas touch" on AKA is "Pawn Shop Blues". As evidenced by a live performance and a demo, PSB was a staggeringly beautiful, tender, and poignant track when Lana was doing it on her own. However, Kahne took it to another level-- while PSB in its raw state is mournful and brimming with sadness, Kahne's instrumentation gives it depth-- it goes from being a "sad" song to something better described as "bittersweet". With the angelic echoes and trembling guitars, Kahne doesn't detract at all from Lana's lyrics-- instead, he gives them deeper meaning and manifold facets. Pawn Shop Blues becomes, all at once, a hopeful look at living for a purpose outside of yourself, a melancholy assertion on the nature of love and loss, and a somber reminder of how one can lose it all for nothing. With these extra dimensions, the track becomes infinitely interesting, as it's hard to tell where the hope begins and the desperation ends. 
 
I'm rambling-- my point being, AKA is an absolutely genius record that I'll love 'til the day I die, and both David Kahne and Lana are geniuses for putting just the right elements in just the right places to create an album that is cohesive yet kaleidoscopic, and that has so many facets and subtleties that it demands repeat listens. Fabulous. Please continue sharing info and thoughts on AKA here, because it means the world to me and I want to know all there is to know about it!
 
Thanks for reading all this 

I listened to Lana Del Ray again tonight, for the millionth time-- my feelings haven't changed. This album is genius, and it definitely saddens me that Lana will likely never return to this set of aesthetics and style of music.
 
However, the genius of AKA is not *just* Lana. I give a sizable part of my respect for the album to David Kahne, as well. While Lana created killer melodies, lyrics, and concepts that would work extremely well under the guidance of any producer, Kahne had the perfect touch to push the songs from "excellent" to "god-like", in my opinion. 
 
It definitely deserves repeat listens-- some subtle flourishes Kahne brought in are best noticed after you've been bowled over a few times by Lana's handiwork with the stories told and pictures painted here. To me, the perfect example of Kahne's "Midas touch" on AKA is "Pawn Shop Blues". As evidenced by a live performance and a demo, PSB was a staggeringly beautiful, tender, and poignant track when Lana was doing it on her own. However, Kahne took it to another level-- while PSB in its raw state is mournful and brimming with sadness, Kahne's instrumentation gives it depth-- it goes from being a "sad" song to something better described as "bittersweet". With the angelic echoes and trembling guitars, Kahne doesn't detract at all from Lana's lyrics-- instead, he gives them deeper meaning and manifold facets. Pawn Shop Blues becomes, all at once, a hopeful look at living for a purpose outside of yourself, a melancholy assertion on the nature of love and loss, and a somber reminder of how one can lose it all for nothing. With these extra dimensions, the track becomes infinitely interesting, as it's hard to tell where the hope begins and the desperation ends. 
 
I'm rambling-- my point being, AKA is an absolutely genius record that I'll love 'til the day I die, and both David Kahne and Lana are geniuses for putting just the right elements in just the right places to create an album that is cohesive yet kaleidoscopic, and that has so many facets and subtleties that it demands repeat listens. Fabulous. Please continue sharing info and thoughts on AKA here, because it means the world to me and I want to know all there is to know about it!
 
Thanks for reading all this 

I listened to Lana Del Ray again tonight, for the millionth time-- my feelings haven't changed. This album is genius, and it definitely saddens me that Lana will likely never return to this set of aesthetics and style of music.
 
However, the genius of AKA is not *just* Lana. I give a sizable part of my respect for the album to David Kahne, as well. While Lana created killer melodies, lyrics, and concepts that would work extremely well under the guidance of any producer, Kahne had the perfect touch to push the songs from "excellent" to "god-like", in my opinion. 
 
It definitely deserves repeat listens-- some subtle flourishes Kahne brought in are best noticed after you've been bowled over a few times by Lana's handiwork with the stories told and pictures painted here. To me, the perfect example of Kahne's "Midas touch" on AKA is "Pawn Shop Blues". As evidenced by a live performance and a demo, PSB was a staggeringly beautiful, tender, and poignant track when Lana was doing it on her own. However, Kahne took it to another level-- while PSB in its raw state is mournful and brimming with sadness, Kahne's instrumentation gives it depth-- it goes from being a "sad" song to something better described as "bittersweet". With the angelic echoes and trembling guitars, Kahne doesn't detract at all from Lana's lyrics-- instead, he gives them deeper meaning and manifold facets. Pawn Shop Blues becomes, all at once, a hopeful look at living for a purpose outside of yourself, a melancholy assertion on the nature of love and loss, and a somber reminder of how one can lose it all for nothing. With these extra dimensions, the track becomes infinitely interesting, as it's hard to tell where the hope begins and the desperation ends. 
 
I'm rambling-- my point being, AKA is an absolutely genius record that I'll love 'til the day I die, and both David Kahne and Lana are geniuses for putting just the right elements in just the right places to create an album that is cohesive yet kaleidoscopic, and that has so many facets and subtleties that it demands repeat listens. Fabulous. Please continue sharing info and thoughts on AKA here, because it means the world to me and I want to know all there is to know about it!
 
Thanks for reading all this 

I listened to Lana Del Ray again tonight, for the millionth time-- my feelings haven't changed. This album is genius, and it definitely saddens me that Lana will likely never return to this set of aesthetics and style of music.
 
However, the genius of AKA is not *just* Lana. I give a sizable part of my respect for the album to David Kahne, as well. While Lana created killer melodies, lyrics, and concepts that would work extremely well under the guidance of any producer, Kahne had the perfect touch to push the songs from "excellent" to "god-like", in my opinion. 
 
It definitely deserves repeat listens-- some subtle flourishes Kahne brought in are best noticed after you've been bowled over a few times by Lana's handiwork with the stories told and pictures painted here. To me, the perfect example of Kahne's "Midas touch" on AKA is "Pawn Shop Blues". As evidenced by a live performance and a demo, PSB was a staggeringly beautiful, tender, and poignant track when Lana was doing it on her own. However, Kahne took it to another level-- while PSB in its raw state is mournful and brimming with sadness, Kahne's instrumentation gives it depth-- it goes from being a "sad" song to something better described as "bittersweet". With the angelic echoes and trembling guitars, Kahne doesn't detract at all from Lana's lyrics-- instead, he gives them deeper meaning and manifold facets. Pawn Shop Blues becomes, all at once, a hopeful look at living for a purpose outside of yourself, a melancholy assertion on the nature of love and loss, and a somber reminder of how one can lose it all for nothing. With these extra dimensions, the track becomes infinitely interesting, as it's hard to tell where the hope begins and the desperation ends. 
 
I'm rambling-- my point being, AKA is an absolutely genius record that I'll love 'til the day I die, and both David Kahne and Lana are geniuses for putting just the right elements in just the right places to create an album that is cohesive yet kaleidoscopic, and that has so many facets and subtleties that it demands repeat listens. Fabulous. Please continue sharing info and thoughts on AKA here, because it means the world to me and I want to know all there is to know about it!
 
Thanks for reading all this 

I listened to Lana Del Ray again tonight, for the millionth time-- my feelings haven't changed. This album is genius, and it definitely saddens me that Lana will likely never return to this set of aesthetics and style of music.
 
However, the genius of AKA is not *just* Lana. I give a sizable part of my respect for the album to David Kahne, as well. While Lana created killer melodies, lyrics, and concepts that would work extremely well under the guidance of any producer, Kahne had the perfect touch to push the songs from "excellent" to "god-like", in my opinion. 
 
It definitely deserves repeat listens-- some subtle flourishes Kahne brought in are best noticed after you've been bowled over a few times by Lana's handiwork with the stories told and pictures painted here. To me, the perfect example of Kahne's "Midas touch" on AKA is "Pawn Shop Blues". As evidenced by a live performance and a demo, PSB was a staggeringly beautiful, tender, and poignant track when Lana was doing it on her own. However, Kahne took it to another level-- while PSB in its raw state is mournful and brimming with sadness, Kahne's instrumentation gives it depth-- it goes from being a "sad" song to something better described as "bittersweet". With the angelic echoes and trembling guitars, Kahne doesn't detract at all from Lana's lyrics-- instead, he gives them deeper meaning and manifold facets. Pawn Shop Blues becomes, all at once, a hopeful look at living for a purpose outside of yourself, a melancholy assertion on the nature of love and loss, and a somber reminder of how one can lose it all for nothing. With these extra dimensions, the track becomes infinitely interesting, as it's hard to tell where the hope begins and the desperation ends. 
 
I'm rambling-- my point being, AKA is an absolutely genius record that I'll love 'til the day I die, and both David Kahne and Lana are geniuses for putting just the right elements in just the right places to create an album that is cohesive yet kaleidoscopic, and that has so many facets and subtleties that it demands repeat listens. Fabulous. Please continue sharing info and thoughts on AKA here, because it means the world to me and I want to know all there is to know about it!
 
Thanks for reading all this