LDR Album Process Discussion

[Embach 44,840]

I was reading some of the old threads from 2017 and found this (a transcription from Summer Bummer/Groupie Love premiere radio interview):

On 7/12/2017 at 7:58 PM, Elle said:

"I've done SO much with Miles Kane. Me & some guys from the Last Shadow Puppets were working on a side project & had our own band and stuff from December to March. But after listening to all of the songs, I felt they were more for Miles. I hope they keep the tracks, we did so many of them."

So TLSP collaboration sessions lasted from December 2016 - March 2017, that's interesting  I wonder how did the sessions overlap with LFL sessions. And sometimes I wonder, how much of their work supposed to be LFL because the registration date of California is kinda suspicious, it was registred in 2017 with other LFL tracks...

 

And I really hope that they kept the tracks because I remember Miles said that there are enough songs for one album.

[blackenedrussianpoetry 2,517]

So lana had the tracklisting for btd ready by sometime on sept 2011 - think this strengthen my theory that driving in cars (and maybe u can be the boss) were leaked by lana herself… why? I think Because she knew her label won’t let her use those songs so that leave the songs with no purpose… so might well just let the fans hear it (bc it wont be on the album anyways so it’s fine if they want to hear these leaked songs)

[Chemtrail 3,133]

4 hours ago, blackenedrussianpoetry said:

So lana had the tracklisting for btd ready by sometime on sept 2011 - think this strengthen my theory that driving in cars (and maybe u can be the boss) were leaked by lana herself… why? I think Because she knew her label won’t let her use those songs so that leave the songs with no purpose… so might well just let the fans hear it (bc it wont be on the album anyways so it’s fine if they want to hear these leaked songs)

She had already uploaded You Can Be the Boss to MySpace before, maybe someone ripped an mp3 of it

[palemoonbaby 15,260]

if electronic upbeat version of SYTH and LFL was recorded there's a high possibility that there are more recorded tracks like that right?

[Embach 44,840]

3 minutes ago, palemoonbaby said:

if electronic upbeat version of SYTH and LFL was recorded there's a high possibility that there are more recorded tracks like that right?

I might remember it wrong but the electropop version of SYTH ft. Fred Again was meant for Hugo Boss perfume commercial. Maybe the Honeymoon version was for Hugo Boss.

But during LFL recording era she probably experimented every genre possible so yeah, there probably are tracks like these.

[Come With Me 3,689]

16 hours ago, Embach said:

I might remember it wrong but the electropop version of SYTH ft. Fred Again was meant for Hugo Boss perfume commercial. Maybe the Honeymoon version was for Hugo Boss.

But during LFL recording era she probably experimented every genre possible so yeah, there probably are tracks like these.

There are 2 made during  Ultraviolence era:

Rick Nowels Version

James Ford Version

 

There’s 3 versions of SYTH made during Honeymoon era:

STINT version

KOZ version (for Hugo boss)

Tom Neville version (for Hugo Boss)

 

There’s one version made during LFL era:

 Fred Again Version 

 

On the Lana del rey Wiki it explains the song’s background pretty accurately 

[Embach 44,840]

4 minutes ago, Bereaved By You said:

There are 2 made during  Ultraviolence era:

Rick Nowels Version

James Ford Version

 

There’s 3 versions of SYTH made during Honeymoon era:

STINT version

KOZ version (for Hugo boss)

Tom Neville version (for Hugo Boss)

 

There’s one version made during LFL era:

 Fred Again Version 

 

On the Lana del rey Wiki it explains the song’s background pretty accurately 

Ty

[Embach 44,840]

Interview from Honeymoon era (2015) where she talks about the making process (original jazz concept) + ideas for new album (Lust For Life)!

On 12/26/2015 at 12:56 AM, guardian said:

Honeymoon is your fourth body of work, how do you define your evolution?

 

 

 

When I started my first album, Born To Die, I had already several years of experience on song writing. But when Video Games was finally played on the radio, in that moment, I knew my record was known. Before this one, I had already written two albums, but writing Born To Die was similar to the way I had fun while documenting my life and my fears, as well as my fantasies. After the release of Born To Die, I started working on more material as nine songs that I originally thought they were for a new album, but due to other things, they became part of the deluxe re-packaging of Born To Die, Paradise. It felt like a grounded notion of what I was looking for the feeling and production behind Born To Die. I especially loved the songs Ride and Cola. Then I toured for a while and while I was on the road, I began thinking about the kind of songs I wanted to sing on stage: something a lot more organic and with guitars on it. That's how I wrote songs with more acoustic sounds and a touch of psychodelia, that became later my album Ultraviolence. After I wrote this album, I sent it to Dan Auerbach because I wanted him to help me with the production, then we spent another four months on the mixing. The mixing can be a really exhausting process, so I began writing new songs in my home again between sessions. Finally, I came back to the studio with Rick Nowels. Honeymoon was similar to when I began writing Ultraviolence after Paradise, because I didn't feel any pressure while doing it. It felt very natural but also very emotional, I was writing songs like Terrence Loves You, Honeymoon and God Knows I Tried, but also had fun with songs like Freak and Art Deco. 

 

 

 

Tell us more about the process of recording Honeymoon

 

 

 

I wrote the biggest part of the record during fall, winter and spring, and it was a beautiful process because I did it with one of my best friends, Rick. My daily activities consisted on swimming on the beach and writing. The album started very easily and fun with songs like Music to Watch Boys To, Honeymoon and Terrence Loves You, and finally, it went through more modern and sexy songs like Freak and Art Deco. But the line that goes through the record has a lot of jazz influence.

 

 

 

What personal trait did you add to this recording?

 

 

 

I guess that you always realize a lot about where you are in your life while you're writing a record. I realized that I didn't fully understand, but I knew I had a great potential to see life as a more fun and beautiful experience.

 

 

 

Tropico is a short film you did with Shaun Ross, written by you. How does it feel to go into the visual representation of your music? Are you doing something similar with Honeymoon? 

 

 

 

Yes, I like what I've done with Honeymoon until now. And yes, I have a visual concept that goes through this record, but it's more in terms of cameras I have used and the velocity in which I record certain stuff. Tropico is one of my favorite proyects I've done and was really hard to make considering the lenght of it and the number of settings. With Honeymoon, I think High By The Beach was a fun and beautiful video at the same time. And I think that the  video for Music to Watch Boys To highlights the cool and touching part of the song, things that may have been overlooked. I also love the continuity of some themes that run in and out of the art, starting with the album cover art and the fact that I'm posing on a Starline Tours tourist bus, to the fact that there's presence of telescopes in the High By The Beach video. 

 

 

 

Did you add something different to Honeymoon?

 

 

 

I guess that records always have a way to surprise you. I always start the process of making a record, knowing where I'm going, but finally, as songs are being conceived, you realize that the concept can be something completely different to what you had originally contemplated. Honeymoon started with a lot if Jazz implementation, but it grew to be something a lot more grounded and minimalistic. 

 

 

 

 

You've done collaborations with other artists, ones that are out of the pop world, are you interested on giving a twist to your music?

 

 

 

I see myself working with people I admire, until now, I've had the opportunity to go on tour with Father John Misty, and recently, I made a song with Abel (The Weeknd). There's people I'd like to work with on my next album. In terms of sound, I really think it's gonna have a variety of different sounds. 

 

 

 

 

 

 

 

 

[Waimea Bay 9,757]

I'm 100% convinced that What's a Girl To Do was planned to be included on the scrapped born to die reissue alongside damn you and Hollywood's dead.

No other unreleased song from the btd sessions is as similar to the actual Emilie Haynie production besides What's a Girl to do and obviously the final versions of the other two songs. I could be wrong with the sample name i think it's the Mary Jane live one but there is definitely one of the samples that is prevalent throught born to die in the production.

Unlike damn you and Hollywood's dead due to the time that this song was recorded I think it was specifically recorded to be on the reissue not a Rework of an older song like the other two

If this turns out to be true I wonder why a song like serial killer that she clearly likes a lot never got the same Rework treatment