TEMPORARY Chemtrails Over the Country Club - Pre-Release Thread: OUT March 19th, 2021

[uvbabe 4,730]

Spoiler

That last Weyes note in For Free breaks me everytime. I can't help crying to that song, I love Joni and Weyes and I don't even know about Zella Day but I guess I love her too. And Lana of course. 

 

[VeniceBiatch 1,703]

Spoiler

hot take: DBJAG is not going to age well. there's always that one song that everyone hypes up because it has a trap beat (Ex. cherry, cinnamon girl, freak) but in retrospect, they're really not top tier and they become stale after a while.  

 

who agrees? 

[uvbabe 4,730]

1 minute ago, VeniceBiatch said:

  Hide contents

hot take: DBJAG is not going to age well. there's always that one song that everyone hypes up because it has a trap beat (Ex. cherry, cinnamon girl, freak) but in retrospect, they're really not top tier and they become stale after a while.  

 

who agrees? 

 

Freak? Not aging well? 

 

But maybe you are right. I really like it tho. 

[honeybadger 40,620]

4 minutes ago, VeniceBiatch said:

  Hide contents

hot take: DBJAG is not going to age well. there's always that one song that everyone hypes up because it has a trap beat (Ex. cherry, cinnamon girl, freak) but in retrospect, they're really not top tier and they become stale after a while.  

 

who agrees? 

 

FREAK stale???

Spoiler

that i question but i don't disagree that it MIGHT not have as much of a timeless feel as other songs on that album. not sure 

but we can still appreciate it now 

 

[Marius 12,266]

Spoiler

Came here to say that White Dress production is amazing. I did not decide yet whether I like her squicky voice, but the melody is so haunting! The song definitely grew on me. Tulsa Jesus Freak is really nice. The beat is too delicate though (same as in cinnamon girl).  How to disappear in Wild at heart made me lmao but I love it I really do and the end when she sings CAUSE BABY I'M WILD WILD AT HEAAART . Verses in Dark but just a game are so good I love the beat. But the part "we keep changing all the time" don't necessairly speaks to me for now. Love the ending of Not all who wander are lost (look at me look at you part and the last chores idk why but it sounds louder). Yosemite, Yosemite...this song can finally stop haunting us.  the fact that breaking up slowely turned out being good.  dance till we die A MASTERPIECE  and for free an amazing closer. LOVE ZELLA DAY. 

 

SORRY FOR THIS CHAOTIC POST.  Waiting for the offical release to verify this opinion one more time... 

 

[venicesnitch 107]

1 minute ago, VeniceBiatch said:

  Hide contents

hot take: DBJAG is not going to age well. there's always that one song that everyone hypes up because it has a trap beat (Ex. cherry, cinnamon girl, freak) but in retrospect, they're really not top tier and they become stale after a while.  

 

who agrees? 

Spoiler

I don't think so. I think it has a lot more traditional elements than her previous trap songs that were initially well received but aged like milk. DBJAG reminds me more of Religion from Honeymoon which is timeless 

 

 

[yourolllikethunder 4,837]

40 minutes ago, TessaDiPietro said:

  Hide contents

What is your interpretation of the "men in business conference" line in white dress ? 

English is not my native language so I wonder if there is a meaning to that line I don't get 

 

Spoiler

I posted this yesterday—I think it is a sarcastic remark about finding her way in a male-dominated industry as someone who writes and tries to produce their own songs... like she went down to a music conference was one of the only young women there, etc - so she’s joking that it was basically a conference for men in music!

 

37 minutes ago, conceptart47 said:

  Hide contents

Ya’ll remember The Cardigans? The verses of DBJAG are really reminding me of them 

 

Spoiler

YES I do! I posted too saying I think it’s like Cardigans meets Liz Phair vibes  my fave on the album!

 

[littleredpartydress 48,147]

Spoiler

dbjag has no trap elements what even

 

its a through and through trip hop song. sounds like it could be on a portishead or massive attack album. it will age like fine wine. 

 

 

[salvatore 21,763]

my thoughts opinions are curtain calling themselves into the aether for repentance and vocalization following the slow digestion of this record on periodical repeat over the last few days and i think i'm of state of mind and currency to call forth my thoughts and opinions 

 

Spoiler

to begin i listened to the album for the first time upon an overcast shroud of light a dimmering grey, lit aside with my candles and lavender incense warming up what in the room it could at the expense of an open window's current and i personally think this is the greatest setting to play such a record. sensible warmth in contrast of physical isolation and a constant reminder of how un-alone you truly are when with nature and mental company of memory

 

this album is one of her most experimental and i believe it is the most experimental, the convoluted melodies the reuse of instrumentation the delivery of lyrics and intents of a story made this very hard to digest, the songs i didn't care for i love. i love. and i love once more the cover is a tragedy and her personality and behavior has been nothing short of a tragedy as well but the result of artwork within a tumultuous interpersonal time is a grandiose one.

 

white dress- beautiful. breathtaking the timmering vocals and abstract lyricism is so gloomy and harrowed; the voice cracks against vaporizer cracks in such a ballad struck me vividly i cannot remember feeling this type of passion in a lana del rey song in a very long, long time. the entrance of sun stare/sun ra is magical she is beautiful. the delivery of men/in/music is awkward but i love it. this is lizzy grant appearing from a ghostly apparition telling her story in the body of elizabeth now, the minimizing herself with her deified ego when in the space of first-place recognition. The pride before the fall, she grasping of fools gold knowing what it's not while describing the beauty of what it could be, i love white dress as an opener, as a highlight, as a memoir. the dazed construction of delusion is so soft and blissful, hot and aridly cool

 

chemtrails over the country club- i don't care for this, i think it is lightly hypnotic and fun but i don't have any remarkable opinions on this, it is a song that is the title track and i cannot change that but for what it does i appreciate it for, the final 1/3 is probably my favorite, past the 'im in the wind/i'm in the water' and the 'i want you only' and the outro is trance-like. i wish it played into that idea more, the video is gorgeous however

 

tulsa jesus freak- i was not anticipating this to be good, as i was sure it'd be the most poppy/sexy song that people who crave that direction from her have to crave every single album and heighten to undeserving heights (freak, cherry, cinnamon girl etc.) and i wasn't entirely wrong but this song has more than i wanted to give it credit it for - the white hot forever refrain is sensual in the right way, shouted almost desperately in passionate yearning for reciprocated passion. the autotune is quite beautiful, the melody for the "kids in their hoodies they dance super slow" is fun and wavering, my biggest critique of this song (and probably chemtrails) is the direct link to Sean Larkin. it stains the music as much as g-eazy did LfL; at least someone like Chase or Joe was a fun little observation to draw from the artwork she created from it. 

 

let me love you like a woman- i hate this song it is one of my least favorite tracks from her in recent years since LfL, the sentiment is sweet and personal but i can't find much to say about this nicely, the oceanic production is the highlight for me (it relates itself back to mariners/greatest/other songs on here, i have ideas to combine them soon)

 

wild at heart- this was a harsh one on the first listen, i couldn't really keep up with it and the chorus felt reductive and annoying, but in context of the full record and relationship to NFR! i have grown to like this one a lot. a lot. it's like this bloodline child from NFR- the melody from love song, sylvia plath, the HtD production...it's kind of its own little statement and for that i appreciate it a lot, she's fun and true

 

dark but just a game- this one is good. super fucking cool, i love the production and lowdown feeling of everything, falling down the rabbit hole and smiling in the same breath, the 'sweet w-whatever baby' with the drums kicking in is electrifying, i don't love the chorus upturning into a positive sound, and it reminds me of 90s music and especially 'hello darkness my old friend' where the song starts off melancholic and cynical, but then immediately upturns into a happy sounding song, and i connect it to this a lot,  it almost has a beatles like sound to it which i don't mind. the song is complex and despite being highly anticipated it almost fell short of my desires, but at the same time created it's own lane and exceeded at that.

 

not all who wander are lost- originally i found this title to be ridiculous and bland, but the instrumentation is beautiful, and her vocals are syruped platinum. the bridge of lookat me lookat you is very cute...this is such a cute deepcut, it's one of those songs that i prescribe with bartender or tomorrow never came or old money where it might be overlooked, but as a deepcut it's incredible. if this was someone's favorite on the album i could not blame them for it, it is a very good song i never expected it to be

 

breaking up slowly- this is one of her best collaborations on a record, and i will die on this hill. the melody is beautiful and the song is a sweet short track that deserved it's place on the record, is it the best? no, but it never wanted to be. it's a campfire classic to me 

 

dance til we die- oh god i hated this on the first listen, i thought it was silent and jarring, the bridge being good and weird, super fucking weird. still very weird. the weirdest moment on the record to me and as i play it over and over again, i adore it? i adore it. it's so fun and sentimental. i still like tomorrow never came, but i understand more on how stupid the call out to sean was. this however? so tasteful and communal. in the way she mentions her artistic friends of laurel canyon hearing "im covering joni (with zella and weyes) and dancing with joan, stevie's calling on the telephone, court almost burned down my home' it's a love letter and immediately enlights memory and friendship with 6 of her contemporaries and inspirations. 

 

for free- this is sweet. i never much liked the song and thinks it's a bit simple for my taste but excellent as a song objectively. the cover is no exception that it's great and sweet, especially coming after dance til we die, it fulfills its purpose in the album. the climactic story of her beginnings and present-day end. for free. feeling like a god making music for free. committing to love and life in the album's mission statement- for free. believing in artistic integrity and appreciation- for free.

 

listening to this album. for free <3 

 

overall, i think this is undoubtedly in my top three. It might dethrone AKA and Honeymoon and easily kicked NFR! out of my top. my current ranking is volatile but generally looked like such

 

HM = AKA > NFR! > BtD = Paradise > Ultraviolence* > Lust for Life

 

I think Lust for Life has career highs, and songs i love more than anything on BtD, but i despise it

*Ultraviolence usually surpasses BtD but only when i'm in the mood for it, but i do love Shades of Cool, Pretty, West Coast, Brooklyn, etc. but it feels wrong to say i love UV? I dont know why honestly. but it's eh

 

 

Song rankings within the album

Spoiler

I dont have a definitive listing, but my top two is white dress and yosemite. yosemite #1

 

White Dress- 5/5

Chemtrails- 3/5

Tulsa JF- 4/5

Let me Love- 1.5/5

Wild at Heart- 4/5

Dark, a game- 4.5/5

Wanderlust- 4.5/5

Yosemite-  <3

Breaking Up- 4/5

Til we die- 4.5/5

For Free- 4/5

 

[yourolllikethunder 4,837]

4 minutes ago, littleredpartydress said:

  Hide contents

dbjag has no trap elements what even

 

its a through and through trip hop song. sounds like it could be on a portishead or massive attack album. it will age like fine wine. 

 

 

Thank you I was about to say the same thing 

[Fingertips 71,975]

5 minutes ago, salvatore said:

my thoughts opinions are curtain calling themselves into the aether for repentance and vocalization following the slow digestion of this record on periodical repeat over the last few days and i think i'm of state of mind and currency to call forth my thoughts and opinions 

 

  Reveal hidden contents

to begin i listened to the album for the first time upon an overcast shroud of light a dimmering grey, lit aside with my candles and lavender incense warming up what in the room it could at the expense of an open window's current and i personally think this is the greatest setting to play such a record. sensible warmth in contrast of physical isolation and a constant reminder of how un-alone you truly are when with nature and mental company of memory

 

this album is one of her most experimental and i believe it is the most experimental, the convoluted melodies the reuse of instrumentation the delivery of lyrics and intents of a story made this very hard to digest, the songs i didn't care for i love. i love. and i love once more the cover is a tragedy and her personality and behavior has been nothing short of a tragedy as well but the result of artwork within a tumultuous interpersonal time is a grandiose one.

 

white dress- beautiful. breathtaking the timmering vocals and abstract lyricism is so gloomy and harrowed; the voice cracks against vaporizer cracks in such a ballad struck me vividly i cannot remember feeling this type of passion in a lana del rey song in a very long, long time. the entrance of sun stare/sun ra is magical she is beautiful. the delivery of men/in/music is awkward but i love it. this is lizzy grant appearing from a ghostly apparition telling her story in the body of elizabeth now, the minimizing herself with her deified ego when in the space of first-place recognition. The pride before the fall, she grasping of fools gold knowing what it's not while describing the beauty of what it could be, i love white dress as an opener, as a highlight, as a memoir. the dazed construction of delusion is so soft and blissful, hot and aridly cool

 

chemtrails over the country club- i don't care for this, i think it is lightly hypnotic and fun but i don't have any remarkable opinions on this, it is a song that is the title track and i cannot change that but for what it does i appreciate it for, the final 1/3 is probably my favorite, past the 'im in the wind/i'm in the water' and the 'i want you only' and the outro is trance-like. i wish it played into that idea more, the video is gorgeous however

 

tulsa jesus freak- i was not anticipating this to be good, as i was sure it'd be the most poppy/sexy song that people who crave that direction from her have to crave every single album and heighten to undeserving heights (freak, cherry, cinnamon girl etc.) and i wasn't entirely wrong but this song has more than i wanted to give it credit it for - the white hot forever refrain is sensual in the right way, shouted almost desperately in passionate yearning for reciprocated passion. the autotune is quite beautiful, the melody for the "kids in their hoodies they dance super slow" is fun and wavering, my biggest critique of this song (and probably chemtrails) is the direct link to Sean Larkin. it stains the music as much as g-eazy did LfL; at least someone like Chase or Joe was a fun little observation to draw from the artwork she created from it. 

 

let me love you like a woman- i hate this song it is one of my least favorite tracks from her in recent years since LfL, the sentiment is sweet and personal but i can't find much to say about this nicely, the oceanic production is the highlight for me (it relates itself back to mariners/greatest/other songs on here, i have ideas to combine them soon)

 

wild at heart- this was a harsh one on the first listen, i couldn't really keep up with it and the chorus felt reductive and annoying, but in context of the full record and relationship to NFR! i have grown to like this one a lot. a lot. it's like this bloodline child from NFR- the melody from love song, sylvia plath, the HtD production...it's kind of its own little statement and for that i appreciate it a lot, she's fun and true

 

dark but just a game- this one is good. super fucking cool, i love the production and lowdown feeling of everything, falling down the rabbit hole and smiling in the same breath, the 'sweet w-whatever baby' with the drums kicking in is electrifying, i don't love the chorus upturning into a positive sound, and it reminds me of 90s music and especially 'hello darkness my old friend' where the song starts off melancholic and cynical, but then immediately upturns into a happy sounding song, and i connect it to this a lot,  it almost has a beatles like sound to it which i don't mind. the song is complex and despite being highly anticipated it almost fell short of my desires, but at the same time created it's own lane and exceeded at that.

 

not all who wander are lost- originally i found this title to be ridiculous and bland, but the instrumentation is beautiful, and her vocals are syruped platinum. the bridge of lookat me lookat you is very cute...this is such a cute deepcut, it's one of those songs that i prescribe with bartender or tomorrow never came or old money where it might be overlooked, but as a deepcut it's incredible. if this was someone's favorite on the album i could not blame them for it, it is a very good song i never expected it to be

 

breaking up slowly- this is one of her best collaborations on a record, and i will die on this hill. the melody is beautiful and the song is a sweet short track that deserved it's place on the record, is it the best? no, but it never wanted to be. it's a campfire classic to me 

 

dance til we die- oh god i hated this on the first listen, i thought it was silent and jarring, the bridge being good and weird, super fucking weird. still very weird. the weirdest moment on the record to me and as i play it over and over again, i adore it? i adore it. it's so fun and sentimental. i still like tomorrow never came, but i understand more on how stupid the call out to sean was. this however? so tasteful and communal. in the way she mentions her artistic friends of laurel canyon hearing "im covering joni (with zella and weyes) and dancing with joan, stevie's calling on the telephone, court almost burned down my home' it's a love letter and immediately enlights memory and friendship with 6 of her contemporaries and inspirations. 

 

for free- this is sweet. i never much liked the song and thinks it's a bit simple for my taste but excellent as a song objectively. the cover is no exception that it's great and sweet, especially coming after dance til we die, it fulfills its purpose in the album. the climactic story of her beginnings and present-day end. for free. feeling like a god making music for free. committing to love and life in the album's mission statement- for free. believing in artistic integrity and appreciation- for free.

 

listening to this album. for free <3 

 

overall, i think this is undoubtedly in my top three. It might dethrone AKA and Honeymoon and easily kicked NFR! out of my top. my current ranking is volatile but generally looked like such

 

HM = AKA > NFR! > BtD = Paradise > Ultraviolence* > Lust for Life

 

I think Lust for Life has career highs, and songs i love more than anything on BtD, but i despise it

*Ultraviolence usually surpasses BtD but only when i'm in the mood for it, but i do love Shades of Cool, Pretty, West Coast, Brooklyn, etc. but it feels wrong to say i love UV? I dont know why honestly. but it's eh

 

 

Song rankings within the album

  Reveal hidden contents

I dont have a definitive listing, but my top two is white dress and yosemite. yosemite #1

 

White Dress- 5/5

Chemtrails- 3/5

Tulsa JF- 4/5

Let me Love- 1.5/5

Wild at Heart- 4/5

Dark, a game- 4.5/5

Wanderlust- 4.5/5

Yosemite-  <3

Breaking Up- 4/5

Til we die- 4.5/5

For Free- 4/5

 

You didn't like Yosemite I take it? 

[ChaoticLipster 23,764]

18 minutes ago, uvbabe said:

  Hide contents

That last Weyes note in For Free breaks me everytime. I can't help crying to that song, I love Joni and Weyes and I don't even know about Zella Day but I guess I love her too. And Lana of course. 

 

It’s an amazing cover

[PARADIXO 31,377]

17 minutes ago, VeniceBiatch said:

  Hide contents

hot take: DBJAG is not going to age well. there's always that one song that everyone hypes up because it has a trap beat (Ex. cherry, cinnamon girl, freak) but in retrospect, they're really not top tier and they become stale after a while.  

 

who agrees? 

 

Spoiler

Well, firstly, Dark But Just a Game doesn't have any trap elements. What I can say right now is that I cannot believe it's everyone's favorite -- it's easily the worst produced track. The lyrics are a mess and a half, the mixing is demo-like and the beat is just as basic as it gets.

 

[salvatore 21,763]

also! thoughts on the covers if anyone cares

 

Spoiler

i'm disappointed the Neil Kruig cover isn't the official cover, and while I understand her vision and the connection, i still find it to be half-assed and sort of stupid the last 3 covers in her vision would've been candid behind-the-scenes shots of her filming music videos.

 

I appreciate the alternate cover for what it is, and how it relates to Norman.

 

Chemtrails being the less-cool, more nostalgiac sister record to Norman, in how Yosemite was to Architecture. Norman Fucking Rockwell! being overtly referential in the way the cuntish man was, thinking his poetry is hot shit, affected by the world news if it weren't- in the way her poetry played a role in that album and this one. Commenting on worldly affairs and the women around her as subjects in a story, nameless ladies and debutants of the canyons, not co-conspirators in the creation of her melody like she does in Chemtrails (except chemtrails the song. weirdly enough.)

 

Lana on the cover doused in neon, talking directly to the listener, hanging onto nameless man of hollywood bygone men, LAs in flames and the sky painted a mask over the smog in the air, not caring to understand it- but caring enough to acknowledge it in the same breath. Stickered with satirical comic book font, the absurdity of her career laid out in covers across media variations

 

Chemtrails cover could've been isolated, facing inward, retrospective and refusing to stare into the audience's gaze because this isn't about them. It's messy, it's dignified, chaotic and easy to misunderstand- easy to not understand at all if you don't want to. In a white dress on top of the foggy highland hills on the cusp of the same burning city lies the same state of mind in flux with itself, grasped by centuries-grown nature not polluted waters in a man-made bay. textless and dazed, forcibly vulnerable because that's all that could come from such. i adore this cover the most in her discography, and while black&white suits the colors of the record more, and the lazed love for her friends are shown in songs like Chemtrails/Like a woman/Dance til we die/For Free

 

[thelastgirlonearth 1,551]

9 minutes ago, salvatore said:

my thoughts opinions are curtain calling themselves into the aether for repentance and vocalization following the slow digestion of this record on periodical repeat over the last few days and i think i'm of state of mind and currency to call forth my thoughts and opinions 

 

  Reveal hidden contents

to begin i listened to the album for the first time upon an overcast shroud of light a dimmering grey, lit aside with my candles and lavender incense warming up what in the room it could at the expense of an open window's current and i personally think this is the greatest setting to play such a record. sensible warmth in contrast of physical isolation and a constant reminder of how un-alone you truly are when with nature and mental company of memory

 

this album is one of her most experimental and i believe it is the most experimental, the convoluted melodies the reuse of instrumentation the delivery of lyrics and intents of a story made this very hard to digest, the songs i didn't care for i love. i love. and i love once more the cover is a tragedy and her personality and behavior has been nothing short of a tragedy as well but the result of artwork within a tumultuous interpersonal time is a grandiose one.

 

white dress- beautiful. breathtaking the timmering vocals and abstract lyricism is so gloomy and harrowed; the voice cracks against vaporizer cracks in such a ballad struck me vividly i cannot remember feeling this type of passion in a lana del rey song in a very long, long time. the entrance of sun stare/sun ra is magical she is beautiful. the delivery of men/in/music is awkward but i love it. this is lizzy grant appearing from a ghostly apparition telling her story in the body of elizabeth now, the minimizing herself with her deified ego when in the space of first-place recognition. The pride before the fall, she grasping of fools gold knowing what it's not while describing the beauty of what it could be, i love white dress as an opener, as a highlight, as a memoir. the dazed construction of delusion is so soft and blissful, hot and aridly cool

 

chemtrails over the country club- i don't care for this, i think it is lightly hypnotic and fun but i don't have any remarkable opinions on this, it is a song that is the title track and i cannot change that but for what it does i appreciate it for, the final 1/3 is probably my favorite, past the 'im in the wind/i'm in the water' and the 'i want you only' and the outro is trance-like. i wish it played into that idea more, the video is gorgeous however

 

tulsa jesus freak- i was not anticipating this to be good, as i was sure it'd be the most poppy/sexy song that people who crave that direction from her have to crave every single album and heighten to undeserving heights (freak, cherry, cinnamon girl etc.) and i wasn't entirely wrong but this song has more than i wanted to give it credit it for - the white hot forever refrain is sensual in the right way, shouted almost desperately in passionate yearning for reciprocated passion. the autotune is quite beautiful, the melody for the "kids in their hoodies they dance super slow" is fun and wavering, my biggest critique of this song (and probably chemtrails) is the direct link to Sean Larkin. it stains the music as much as g-eazy did LfL; at least someone like Chase or Joe was a fun little observation to draw from the artwork she created from it. 

 

let me love you like a woman- i hate this song it is one of my least favorite tracks from her in recent years since LfL, the sentiment is sweet and personal but i can't find much to say about this nicely, the oceanic production is the highlight for me (it relates itself back to mariners/greatest/other songs on here, i have ideas to combine them soon)

 

wild at heart- this was a harsh one on the first listen, i couldn't really keep up with it and the chorus felt reductive and annoying, but in context of the full record and relationship to NFR! i have grown to like this one a lot. a lot. it's like this bloodline child from NFR- the melody from love song, sylvia plath, the HtD production...it's kind of its own little statement and for that i appreciate it a lot, she's fun and true

 

dark but just a game- this one is good. super fucking cool, i love the production and lowdown feeling of everything, falling down the rabbit hole and smiling in the same breath, the 'sweet w-whatever baby' with the drums kicking in is electrifying, i don't love the chorus upturning into a positive sound, and it reminds me of 90s music and especially 'hello darkness my old friend' where the song starts off melancholic and cynical, but then immediately upturns into a happy sounding song, and i connect it to this a lot,  it almost has a beatles like sound to it which i don't mind. the song is complex and despite being highly anticipated it almost fell short of my desires, but at the same time created it's own lane and exceeded at that.

 

not all who wander are lost- originally i found this title to be ridiculous and bland, but the instrumentation is beautiful, and her vocals are syruped platinum. the bridge of lookat me lookat you is very cute...this is such a cute deepcut, it's one of those songs that i prescribe with bartender or tomorrow never came or old money where it might be overlooked, but as a deepcut it's incredible. if this was someone's favorite on the album i could not blame them for it, it is a very good song i never expected it to be

 

breaking up slowly- this is one of her best collaborations on a record, and i will die on this hill. the melody is beautiful and the song is a sweet short track that deserved it's place on the record, is it the best? no, but it never wanted to be. it's a campfire classic to me 

 

dance til we die- oh god i hated this on the first listen, i thought it was silent and jarring, the bridge being good and weird, super fucking weird. still very weird. the weirdest moment on the record to me and as i play it over and over again, i adore it? i adore it. it's so fun and sentimental. i still like tomorrow never came, but i understand more on how stupid the call out to sean was. this however? so tasteful and communal. in the way she mentions her artistic friends of laurel canyon hearing "im covering joni (with zella and weyes) and dancing with joan, stevie's calling on the telephone, court almost burned down my home' it's a love letter and immediately enlights memory and friendship with 6 of her contemporaries and inspirations. 

 

for free- this is sweet. i never much liked the song and thinks it's a bit simple for my taste but excellent as a song objectively. the cover is no exception that it's great and sweet, especially coming after dance til we die, it fulfills its purpose in the album. the climactic story of her beginnings and present-day end. for free. feeling like a god making music for free. committing to love and life in the album's mission statement- for free. believing in artistic integrity and appreciation- for free.

 

listening to this album. for free <3 

 

overall, i think this is undoubtedly in my top three. It might dethrone AKA and Honeymoon and easily kicked NFR! out of my top. my current ranking is volatile but generally looked like such

 

HM = AKA > NFR! > BtD = Paradise > Ultraviolence* > Lust for Life

 

I think Lust for Life has career highs, and songs i love more than anything on BtD, but i despise it

*Ultraviolence usually surpasses BtD but only when i'm in the mood for it, but i do love Shades of Cool, Pretty, West Coast, Brooklyn, etc. but it feels wrong to say i love UV? I dont know why honestly. but it's eh

 

 

Song rankings within the album

  Reveal hidden contents

I dont have a definitive listing, but my top two is white dress and yosemite. yosemite #1

 

White Dress- 5/5

Chemtrails- 3/5

Tulsa JF- 4/5

Let me Love- 1.5/5

Wild at Heart- 4/5

Dark, a game- 4.5/5

Wanderlust- 4.5/5

Yosemite-  <3

Breaking Up- 4/5

Til we die- 4.5/5

For Free- 4/5

 

Spoiler

what are ur thoughts on yosemite, did it live up to expectations?? 

 

[uvbabe 4,730]

2 minutes ago, ChaoticLipster said:

It’s an amazing cover

 

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It's honestly so hauting. I wonder if Joni will ever hear it and what would she think about it? I think the three of them did a wonderful job, it feels so sweet and warm.

 

[littleredpartydress 48,147]

1 minute ago, salvatore said:

also! thoughts on the covers if anyone cares

 

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i'm disappointed the Neil Kruig cover isn't the official cover, and while I understand her vision and the connection, i still find it to be half-assed and sort of stupid the last 3 covers in her vision would've been candid behind-the-scenes shots of her filming music videos.

 

I appreciate the alternate cover for what it is, and how it relates to Norman.

 

Chemtrails being the less-cool, more nostalgiac sister record to Norman, in how Yosemite was to Architecture. Norman Fucking Rockwell! being overtly referential in the way the cuntish man was, thinking his poetry is hot shit, affected by the world news if it weren't- in the way her poetry played a role in that album and this one. Commenting on worldly affairs and the women around her as subjects in a story, nameless ladies and debutants of the canyons, not co-conspirators in the creation of her melody like she does in Chemtrails (except chemtrails the song. weirdly enough.)

 

Lana on the cover doused in neon, talking directly to the listener, hanging onto nameless man of hollywood bygone men, LAs in flames and the sky painted a mask over the smog in the air, not caring to understand it- but caring enough to acknowledge it in the same breath. Stickered with satirical comic book font, the absurdity of her career laid out in covers across media variations

 

Chemtrails cover could've been isolated, facing inward, retrospective and refusing to stare into the audience's gaze because this isn't about them. It's messy, it's dignified, chaotic and easy to misunderstand- easy to not understand at all if you don't want to. In a white dress on top of the foggy highland hills on the cusp of the same burning city lies the same state of mind in flux with itself, grasped by centuries-grown nature not polluted waters in a man-made bay. textless and dazed, forcibly vulnerable because that's all that could come from such. i adore this cover the most in her discography, and while black&white suits the colors of the record more, and the lazed love for her friends are shown in songs like Chemtrails/Like a woman/Dance til we die/For Free

 

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agree x 1012930

 

the neil krug photo was not my favorite upon first sight, but hearing the music it matches so perfectly that i cannot believe she was not persuaded or literally forced by her managers to change it in the same way she was to change normans. 

 

 

 

[ChaoticLipster 23,764]

2 minutes ago, PARADIXO said:

 

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Well, firstly, Dark But Just a Game doesn't have any trap elements. What I can say right now is that I cannot believe it's everyone's favorite -- it's easily the worst produced track. The lyrics are a mess and a half, the mixing is demo-like and the beat is just as basic as it gets.

 

My opinion on DBJAG -

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I think it’s gonna be the popular stand out track because it’s faster and has an interesting bridge, but I honestly think it’s gonna drop like a stone in popularity and White Dress, Yosemite will reign supreme. 

 

[PARADIXO 31,377]

2 minutes ago, littleredpartydress said:

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agree x 1012930

 

the neil krug photo was not my favorite upon first sight, but hearing the music it matches so perfectly that i cannot believe she was not persuaded or literally forced by her managers to change it in the same way she was to change normans. 

 

 

 

 

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This, plus the album is very 90s and totally fits the obscure 90s alt rock aesthetic of the Neil Krug photo 

 

[Atlantis 371]

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verses - wild on you 

chorus - angels forever 

bridge - velvet crowbar 

The way she sings in Dance Till We Die reminds me of these songs: