Norman Fucking Rockwell - Post-Release Discussion Thread + Poll

[ArtDecoDelRey 15,284]

Us 3 NFR stans on this board need to stick together and defend the album and Jack's honor against the tireless, malicious propaganda attacks coming from Ultraviolence and Honeymoon stans. We need to fight for NFR and Jack until the very last drop of our blood! 

 

you are LITERALLY the one trying to initiate conflict here sweet thing. Last i checked, this is LANAboards, we all clearly love Lana and her art and we should all appreciate that instead of attacking one another on petty shit because you feel so entitled to becoming a martyr for Jackoff's cause or some shit.

[Edelgard 1,848]

I still really like NFR

[American Whore 51,491]

If you're a casual fan you're probably not listening closely. Critics are hardly going to be listening to Lana's album on repeat at every part of the day at full volume. The reason we hear it is because we're rabid fans who obsess over these details (as I hope we should - we're fans on LANAboards). I had a quick skip through and these are some of the things I heard (some with timestamps so you can find them quickly)

 

 

Norman Fucking Rockwell

This is so sloppy the whole thing might be style choice. Throughout the opening you can hear things moving, lips smacking etc.

0:18 – 0:22: Lips moving

 

Mariners + Venice Bitch + Happiness is a Butterfly

Good!

 

Fuck It I Love You

I mean, arguably you all hate the CD alt version so you tell me.

 

Cinnamon Girl

0:28: This is very obviously a different take with clearer vocals.

1:41 – After “Kerosine” you can hear a case or something shift in the background

 

Doin’ Time –

Perfect because it has totally different production. 

 

Love Song 

0:27: Instrumental loop drops in volume and then restarts noticeably.

1:04 – On ‘Oh, be my once in a lifetime’, the mic placement is closer to her, which causes the vocal line to be louder. This doesn’t happen in the second chorus, but the bass is boosted higher.

 

How to Disappear

0:07 onwwards: The instruments are crackling and peaking slightly on the bass. Maybe it’s a . . . choice.

0:51: The microphone peaks and her voice whistles (from no hi pass filter) on the word ‘to’

2:37: The mixing is bad. The vocals are too quiet compared to the first portion of the song, now with very loud backing.

 

The Next Best American Record 

0:07 + 0:10 there is a scuff on the guitar where the frets are moved.

Vocals have an ambient hiss behind them (not Jack’s fault, a trademark Rick fuck up)

1:21 “Fame” reverb echo.

 

Bartender

Vocals have the ambient hiss

 

The Greatest 

4:08: in the left speaker you can hear the guitar shifting against pants.

 

California 

Vocals have ambient hiss

 

Hope 

Fine I guess, but would you really consider this as well produced as the rest of the album. You can hear lip smacks and the mouth opening and there’s hiss but they proudly did this in one take . . .

 

At the end of the day, you can clearly hear these nitpicks. They're nitpicks, but they're there, and you look like a fool for saying that they don't exist simply because they do. I love love LOVE NFR! but it's undeniable that 

 

HOWEVER, if you're not an audiophile or you're not consistently listening to it with high quality headphones, you would never pick up on these. This shit happens all the time across every genre - at the end of Florence + The Machine's 'What the Water Gave Me' you can hear someone moving their drumsticks, you can hear someone cough in the back of Madonna's 'Don't Cry for Me Argentina', on The Little Mermaid legacy collection random instrumental fades come up here and there.

 

It's disappointing when simple mistakes like this happen since to me, it sounds like someone hasn't given it a proper listen with the same care that's been put into making it. Maybe it's a stylistic choice, and a result of the album being made quickly, but frankly I'm not interested in having this lack of attention again on White Hot Forever simple because I like cleaner sounding records. Jack is a talented musician and will go down as a modern legend, and NFR! deserves the praise buttt

 

 

Yes, here here. How can anyone claim that NFR is more cohesive than HM when its music was produced by at least three different people! TNBAR has the same textual and sonic patches as Heroin and 13 Beaches. Bartender is beautiful but fuckin' random. Doin' Time is super hot but from like, literally another planet. Ultraviolence is more cohesive but sonically HM has it going on from start to end.

The thing about the consistency is more within the lyrics of NFR than the others. UV was probably the only one where she used vocals from other tracks hidden in the bridge/ending chorus, from FMWUTTT. This time, the songs lyrically connect.

 

NFR: You fucked me so good that i almost said I love you

FIILY: Fuck it, i love you!

 

FIILY: Runnin out of time

Doin’ Time: Summertime & the living’s easy

 

VB: Trying to be stronger for you

California: You don’t ever have to be stronger than you really are

 

Just a few examples.

 

But i agree, there are flaws in the production that COULD HAVE been edited out, unless they were there on purpose to give it a more “live album” sound

 

I just hope on WHF she uses more mellotron. The only problem is you can usually hear the tapes click and people will prolly start calling that a production problem when it’s not

[house of balloons 12,793]

this is turning into the nfr pre-release thread post cassette leaks  

[Pico Ocean Boulevard 41,182]

this is turning into the nfr pre-release thread post cassette leaks

 

Yeah you are back! I haven't read anything from you in such a long time.

[DCooper 37,062]

People who don't think NFR is coherent need to pay a little more attention to subtlety. 

[Jared 3,132]

At times, NFR can sound like a live album or have that certain live album feel to it; it's not too polished and overproduced. It's a product of Jack and Lana using certain stylistic choices. So I'll give you that. But everything else is nitpicking.

 

Yes, fans on Lana boards are famous for obsessing over details, but also for their hallucinations (seeing things that aren't really there). Let's not forget that ''Lana losing her touch, inspiration, passion for music, and should retire''  was the main theme of NFR pre-release threads.

 

[UltraHeroin 8,803]

Wait people are bothered about the mouth noises and maybe some room sounds in the background? I think it's those elements that make the listening of the album so much special, it makes it more real and authentic, like you're in the room with them as they're playing. Also Lana's deep breaths and mouth noises give me ASMR tingles (and turn me on a bit too)    

 

I agree on the static noise behind her vocals on Bartender and BAR; I don't find it as annoying as on Chage or Heroin though. Also the different slight microphone fuck-ups like Cinnamon girl, HTD or Love Song (Personally I never noticed it in Love song, it's barely there, who even notices that lmao) are so minimal that it doesn't even really matter, come on now. Nitpicking at its finest. 

 

 

 

And Ultraviolence and Honeymoon are definetly more cohesive than NFR. I think Honeymoon is her most cohesive body of work to date

[Pico Ocean Boulevard 41,182]

NFR! has a day in the Life feeling and that's why I'm not bothered about those nitpicks bc of that and I don't hear some of them. This is her most organic record.

I have to agree with UltraHeroin. The room sounds add something special for me.

 

I think I would be more bothered if some of the mistakes were happened on some of her previous records like HM bc the production is bigger and rich on those records.

And NFR! is very cohesive. Not cohesive like Honeymoon but it is cohesive

[GeminiLanaFan 49,167]

If you're a casual fan you're probably not listening closely. Critics are hardly going to be listening to Lana's album on repeat at every part of the day at full volume. The reason we hear it is because we're rabid fans who obsess over these details (as I hope we should - we're fans on LANAboards). I had a quick skip through and these are some of the things I heard (some with timestamps so you can find them quickly)

 

Norman Fucking Rockwell

This is so sloppy the whole thing might be style choice. Throughout the opening you can hear things moving, lips smacking etc.

0:18 – 0:22: Lips moving

 

Mariners + Venice Bitch + Happiness is a Butterfly

Good!

 

Fuck It I Love You

I mean, arguably you all hate the CD alt version so you tell me.

 

Cinnamon Girl

0:28: This is very obviously a different take with clearer vocals.

1:41 – After “Kerosine” you can hear a case or something shift in the background

 

Doin’ Time –

Perfect because it has totally different production. 

 

Love Song 

0:27: Instrumental loop drops in volume and then restarts noticeably.

1:04 – On ‘Oh, be my once in a lifetime’, the mic placement is closer to her, which causes the vocal line to be louder. This doesn’t happen in the second chorus, but the bass is boosted higher.

 

How to Disappear

0:07 onwwards: The instruments are crackling and peaking slightly on the bass. Maybe it’s a . . . choice.

0:51: The microphone peaks and her voice whistles (from no hi pass filter) on the word ‘to’

2:37: The mixing is bad. The vocals are too quiet compared to the first portion of the song, now with very loud backing.

 

The Next Best American Record 

0:07 + 0:10 there is a scuff on the guitar where the frets are moved.

Vocals have an ambient hiss behind them (not Jack’s fault, a trademark Rick fuck up)

1:21 “Fame” reverb echo.

 

Bartender

Vocals have the ambient hiss

 

The Greatest 

4:08: in the left speaker you can hear the guitar shifting against pants.

 

California 

Vocals have ambient hiss

 

Hope 

Fine I guess, but would you really consider this as well produced as the rest of the album. You can hear lip smacks and the mouth opening and there’s hiss but they proudly did this in one take . . .

 

At the end of the day, you can clearly hear these nitpicks. They're nitpicks, but they're there, and you look like a fool for saying that they don't exist simply because they do. I love love LOVE NFR! but it's undeniable that 

 

HOWEVER, if you're not an audiophile or you're not consistently listening to it with high quality headphones, you would never pick up on these. This shit happens all the time across every genre - at the end of Florence + The Machine's 'What the Water Gave Me' you can hear someone moving their drumsticks, you can hear someone cough in the back of Madonna's 'Don't Cry for Me Argentina', on The Little Mermaid legacy collection random instrumental fades come up here and there.

 

It's disappointing when simple mistakes like this happen since to me, it sounds like someone hasn't given it a proper listen with the same care that's been put into making it. Maybe it's a stylistic choice, and a result of the album being made quickly, but frankly I'm not interested in having this lack of attention again on White Hot Forever simple because I like cleaner sounding records. Jack is a talented musician and will go down as a modern legend, and NFR! deserves the praise buttt

 

Yes, here here. How can anyone claim that NFR is more cohesive than HM when its music was produced by at least three different people! TNBAR has the same textual and sonic patches as Heroin and 13 Beaches. Bartender is beautiful but fuckin' random. Doin' Time is super hot but from like, literally another planet. Ultraviolence is more cohesive but sonically HM has it going on from start to end.

 

Woah, some of you really have a very fine ear to have heard all of that! 

Is it the same on all of her albums or just this one?

Wait people are bothered about the mouth noises and maybe some room sounds in the background? I think it's those elements that make the listening of the album so much special, it makes it more real and authentic, like you're in the room with them as they're playing. Also Lana's deep breaths and mouth noises give me ASMR tingles (and turn me on a bit too)    

 

I agree on the static noise behind her vocals on Bartender and BAR; I don't find it as annoying as on Chage or Heroin though. Also the different slight microphone fuck-ups like Cinnamon girl, HTD or Love Song (Personally I never noticed it in Love song, it's barely there, who even notices that lmao) are so minimal that it doesn't even really matter, come on now. Nitpicking at its finest. 

 

 

 

And Ultraviolence and Honeymoon are definetly more cohesive than NFR. I think Honeymoon is her most cohesive body of work to date

To me, NFR! is what she wanted LFL to be in the first place. I really love LFL, love how «messy» it is (I hear diverse, to be quite frank), because it was a messy era of her life, but NFR feels like this is what she first intended for LFL: a singer-songwriter / acoustic-ish sound. 

[sjatib 5,172]

If you're a casual fan you're probably not listening closely. Critics are hardly going to be listening to Lana's album on repeat at every part of the day at full volume. The reason we hear it is because we're rabid fans who obsess over these details (as I hope we should - we're fans on LANAboards). I had a quick skip through and these are some of the things I heard (some with timestamps so you can find them quickly)

 

Norman Fucking Rockwell

This is so sloppy the whole thing might be style choice. Throughout the opening you can hear things moving, lips smacking etc.

0:18 – 0:22: Lips moving

 

Mariners + Venice Bitch + Happiness is a Butterfly

Good!

 

Fuck It I Love You

I mean, arguably you all hate the CD alt version so you tell me.

 

Cinnamon Girl

0:28: This is very obviously a different take with clearer vocals.

1:41 – After “Kerosine” you can hear a case or something shift in the background

 

Doin’ Time –

Perfect because it has totally different production. 

 

Love Song 

0:27: Instrumental loop drops in volume and then restarts noticeably.

1:04 – On ‘Oh, be my once in a lifetime’, the mic placement is closer to her, which causes the vocal line to be louder. This doesn’t happen in the second chorus, but the bass is boosted higher.

 

How to Disappear

0:07 onwwards: The instruments are crackling and peaking slightly on the bass. Maybe it’s a . . . choice.

0:51: The microphone peaks and her voice whistles (from no hi pass filter) on the word ‘to’

2:37: The mixing is bad. The vocals are too quiet compared to the first portion of the song, now with very loud backing.

 

The Next Best American Record 

0:07 + 0:10 there is a scuff on the guitar where the frets are moved.

Vocals have an ambient hiss behind them (not Jack’s fault, a trademark Rick fuck up)

1:21 “Fame” reverb echo.

 

Bartender

Vocals have the ambient hiss

 

The Greatest 

4:08: in the left speaker you can hear the guitar shifting against pants.

 

California 

Vocals have ambient hiss

 

Hope 

Fine I guess, but would you really consider this as well produced as the rest of the album. You can hear lip smacks and the mouth opening and there’s hiss but they proudly did this in one take . . .

 

At the end of the day, you can clearly hear these nitpicks. They're nitpicks, but they're there, and you look like a fool for saying that they don't exist simply because they do. I love love LOVE NFR! but it's undeniable that 

 

HOWEVER, if you're not an audiophile or you're not consistently listening to it with high quality headphones, you would never pick up on these. This shit happens all the time across every genre - at the end of Florence + The Machine's 'What the Water Gave Me' you can hear someone moving their drumsticks, you can hear someone cough in the back of Madonna's 'Don't Cry for Me Argentina', on The Little Mermaid legacy collection random instrumental fades come up here and there.

 

It's disappointing when simple mistakes like this happen since to me, it sounds like someone hasn't given it a proper listen with the same care that's been put into making it. Maybe it's a stylistic choice, and a result of the album being made quickly, but frankly I'm not interested in having this lack of attention again on White Hot Forever simple because I like cleaner sounding records. Jack is a talented musician and will go down as a modern legend, and NFR! deserves the praise buttt

 

Yes, here here. How can anyone claim that NFR is more cohesive than HM when its music was produced by at least three different people! TNBAR has the same textual and sonic patches as Heroin and 13 Beaches. Bartender is beautiful but fuckin' random. Doin' Time is super hot but from like, literally another planet. Ultraviolence is more cohesive but sonically HM has it going on from start to end.

 

You are the Monica Geller of production, and I'm worried that I relate to you a lot!

[ArtDecoDelRey 15,284]

the way FIILY, HTD, and NFR (song) grew on me...the flavor

[TrashMagiq 58,697]

NFR def has imperfections, and I get why people don't like that, but not everything has to be glossy. The shifts in the background, her lips moving, the voice whistles, the ambient hiss, etc. make the album feel more natural. It's not like they were like "let's make lip smacking noises and make shifting noises in the bg to give it a more retro feel!", it all just happend, and they kept it in, which I personally like. These aren't flaws, they're imperfections. Some people don't like imperfections, but others do.
 

I do think the "fame fame fame" background vocals being kept in was lazy, but Jack didn't even work on that track.

[SparkleJumpropeNoose 8,750]

the only song from nfr ive listened to in the past month is doin time

If you're a casual fan you're probably not listening closely. Critics are hardly going to be listening to Lana's album on repeat at every part of the day at full volume. The reason we hear it is because we're rabid fans who obsess over these details (as I hope we should - we're fans on LANAboards). I had a quick skip through and these are some of the things I heard (some with timestamps so you can find them quickly)

HTD's obvious volume increase at 1:21 + HIAB's very choppy backing vocals are also things I noticed on my first listen 

[expandableclitoris 9,093]

I'm still in awe of California 

 

 

im still in awe by how awful it is  

[Jared 3,132]

Calling California or Hope Is A Dangerous Thing For A Woman Like Me To Have-But I Have It awful or bragging about Doin' Time being the only song you're still listening from NFR is kinda like screaming out loud (in a very crowded place) about 50 Shades of Grey being your favorite movie. 

 

Sometimes it's better to keep some thoughts to yourself.

 

[movebaby 5,379]

fucking hell are we not allowed to have standards

[sjatib 5,172]

Calling California or Hope Is A Dangerous Thing For A Woman Like Me To Have-But I Have It awful or bragging about Doin' Time being the only song you're still listening from NFR is kinda like screaming out loud (in a very crowded place) about 50 Shades of Grey being your favorite movie. 

 

Sometimes it's better to keep some thoughts to yourself.

 

 

Cultural elitism doesnt make for a good debating argument, yet it showcases a problematic way to look other people at. Don't really see the point on taking what should be a healthy, funny discussion towards music, to a series of nonsense, personal attacks within the forum members. I really hope that nobody has to start keeping their legitimate views to themselves, as long as they are respectfully exposed, because of fearing being judged like this. Let's keep the dialogue enjoyable for all.

[Dark Angel 202,602]

This thread is a trainwreck  

[SparkleJumpropeNoose 8,750]

Calling California or Hope Is A Dangerous Thing For A Woman Like Me To Have-But I Have It awful or bragging about Doin' Time being the only song you're still listening from NFR is kinda like screaming out loud (in a very crowded place) about 50 Shades of Grey being your favorite movie. 

 

Sometimes it's better to keep some thoughts to yourself.

 

pee pee poo poo go suck off jack antonoff