New Lana song 'Watercolor Eyes' to be featured in S2E3 of 'Euphoria' - January 23rd, 2022

[Dark Angel 202,191]

watermelon with eye colors 

 

[honeybadger 40,620]

where oh where has my daddy (rick) (dan) (insert other consistently good producer here) gone oh where oh where could he be 

[Dark Angel 202,191]

Just now, honeybadger said:

where oh where has my daddy (rick) (dan) (insert other consistently good producer here) gone oh where oh where could he be 

 

at this point the only lana producer we can geniunely trust is rick nowels  

[honeybadger 40,620]

water balls 

[lanasbottom 23,694]

1 minute ago, Surf Noir said:

 

at this point the only lana producer we can geniunely trust is rick nowels  

at this point i fear not even rick can save us considering the most recent song they made was floptender 

[Dark Angel 202,191]

eyeball melons

 

[Venice Jesus Whore 4,471]

I like it, but I’m a little disappointed that the song she made for Euphoria isn’t better. This is my favorite TV show of all time and Lana is my #2 artist of all time, so it’s a little disappointing that Euphoria didn’t get her best work.

 

Then again, it seems like Lana has a trend of saving her best songs for her albums. Her standalone singles for movies/series have never been as good as the stuff on her albums imo. and also, I’m sure the song will be a lot more powerful in the actual episode than standalone.

 

I’m not going to complain about Lana constantly feeding us, but I wish she would gain more of a focus again. I haven’t been feeling much of her music post-NFR, and it seems like shes choosing quantity over quality. Or maybe the pandemic just fucked me up and I’m the problem, not Lana… idk.

[Dark Angel 202,191]

2 minutes ago, lanasbottom said:

at this point i fear not even rick can save us considering the most recent song they made was floptender 

 

well floptender just so happens to be my favorite song off of nfr...

[necessary sacrifice 8,865]

feeling blessed that God made me a woman so i can't hear any of those super subtle mixing issues but i can see a larger spectrum of colours 

[lanabanana11 3,855]

my thoughts on the rock candy sweet case:

BOZ said she really liked the rock candy line and recycled it from the song Rock Candy Sweet, thus confirming WCE is not in fact RCS. However I do remember seeing on here a week or so ago that Loved You Then and Now is an old song Lana's been sitting on and is different from Rock Candy Sweet.

Heres my guess, she clearly liked the rock candy sweet line, and a lot of NFR, Chemtrails, and BB was recorded one after the other so im sure theres some overlap there. so she put the rock candy line in WCE as well, but i do think that Loved You Then and Now, when it was intended for chemtrails, was one song, then she reworked it a lot and turned it in to title track Rock Candy Sweet, and then when the album changed directions, she scraped it all together and made the album BB

So in my mind there is Loved You Then and Now, and old song shes had for years AND a reworked version thats very different (ala Beautiful People, TNBAR etc) thats titled Rock Candy Sweet

[lanasbottom 23,694]

3 minutes ago, Surf Noir said:

 

well floptender just so happens to be my favorite song off of nfr...

thoughts and prayers 

 

[Dark Angel 202,191]

[Fart Deco 12,714]

What has she put in this, I can’t stop replaying it 

[COCC 29,554]

Wild watermelons that leave me sandy

[the ocean 67,601]

22 minutes ago, Surf Noir said:

 

at this point the only lana producer we can geniunely trust is rick nowels  

 

and princess superstar 

[drugmunny 8,880]

the way lana monopolized the fuck out of Rick and even said he was scared to ask her permission to work with other people bc she kept him on lock. and now he's just nowhere in sight. put him back to work lana PLEASE.

[Evergreen 8,366]

Do we really need Rick again? After LFL everyone was hoping she'll ditch him for good because of the cheap beats and voice filters

[drugmunny 8,880]

1 minute ago, Writer In The Dark said:

Do we really need Rick again? After LFL everyone was hoping she'll ditch him for good because of the cheap beats and voice filters

i blamed Kieron and the guest producers

[SalvaWHORE 34,006]

Watercolor Eyes is a good song but it sure is the last thing that actually sounds like "Lana Del Rey".

 

For the first time, i listen a LDR song but can't feel her energy/signature in it. It's still on my constant replay but i cant deny the fact that it lacks Lana's traditional sauce. She might be going for a whole new vibe. But anyway, I doubt that we are able to get a "Young & Beautiful" or "Once Upon A Dream" moment when it comes to her being featured in a soundtrack again.

[yourolllikethunder 4,886]

20 minutes ago, Whore of Tropico said:

Watercolor Eyes is a good song but it sure is the last thing that actually sounds like "Lana Del Rey".

 

For the first time, i listen a LDR song but can't feel her energy/signature in it. It's still on my constant replay but i cant deny the fact that it lacks Lana's traditional sauce. But I guess we are not getting "Young & Beautiful" or "Once Upon A Dream" moment when it comes to her being featured in a soundtrack again.

I always feel bad when I see people aren’t liking the direction she’s going in. I respect all opinions and it sucks to be disappointed in your favorite artist’s releases, and I’ve tried to figure out why mid/post-NFR tracks sound so different from her older material. 
 

What I’ve decided is that, especially with the adoption of her spoken poetry, she said she likes almost freestyling and making very few edits to things—just letting them be what they are. I think she lived by this dogma in the beginning with AKA, where everything felt and sounded like it had spontaneous air in the mix. 
 

Once she was signed by a big label, naturally they try to boil it down to a concentrate—cut out any stray frequencies, smooth and condense her voice, have crisp instrumentals keen for radio and movie play, etc.

 

I had liked Lana’s music in the past, but I really became a stan with the release of Mariner’s and Venice Bitch, because, while I hadn’t heard much from UV or anything at the time, I felt I could hear her true artistry come through in those tracks, with their lo-fi, vocal-center approach. It captured the electricity of a live performance, of an artist creating and breathing in real-time that sounded so different from the slick, airtight productions on the radio or sleek, older material of hers that I was familiar with.

 

I think she’s leaned even further into that after her work with Jack. We’ve heard her collaborators say that she’s done vocals in one take, or how she literally wrote and recorded White Dress on the spot while Jack played some chords. I think, above all lately, she values organicness—the feeling of catching lightning and bottling up that emotion right away, to present it as it was at that moment in time, and not revisit it. While I agree it has led to some more human “errors” (slightly wrong notes, lags in timing, fuzzy gear playback), I feel this is all so hyper-intentional in her art now, almost like a protest of the modern music industry. It’s almost like her trajectory has been a circle to get back to that spontaneity she felt with AKA.

 

I really appreciate that art and feel it is true to her acoustic, songwriting soul, but at the same time I see how far that is from the BTD—and even Honeymoon—sound, for example. I definitely feel empathy for the people who don’t love it as much and just wanted to type out my thoughts in case it resonated with anyone. Artists’ journeys have always been so interesting to me, and Lana’s is certainly one of the most uniquely interesting ones we’ve had to witness, as one of the first true viral stars to reigning indie/alt queen of the music counterculture.