Did you know that there's a tunnel under Ocean Blvd - Pre-Release Thread: OUT March 24th, 2023

[the ocean 67,621]

Just now, paradisetropico said:

it just hit me we are getting 16 brand new songs... like.... thats a lot 😭💕 

13, plus 2 interludes

not including today's single obviously

[Jeanne Dielman 5,844]

People clutching their pearls and jumping into conclusions about the overall sound and direction of LDR9 despite the fact that BOZ said that the album is «so wild that he couldn’t believe that he loved it that much» and that it has a lot of variety and lush instrumentation is just sending me. Not to mention that she’s working with several new people on this record (Batiste, Genesis, etc.).
 

It’s pretty obvious that she’s currently fond of a more mellow/grounded/subtle sound and focuses on her conversational/free-flowing poetic lyricism, but there is space for sonic experimentation - see BOZ’s description of A&W - and vocal as well (White Dress on COCC; Sweet Carolina and Arcadia on BB). I happen to be a fan of her latest records, probably because I prefer my music sparser. Hopefully this new body of work is cohesive and showcases artistic growth.

 

Pitchfork’s review was to-the-point: the title track is an admittedly dreamier and more lush version of her latest style, sure,  but it also reveals little details in its sonic direction and influences - the sigh of relief; the celebratory choir; the tiny mumbling; the buildup; the crescendo of warmth -, as well as in its lyrics - the writing is far more layered and, dare I say, contradictory than expected: it’s both nostalgic and mournful; its deceptively straightforward metaphors about the fleetingness of life, forgotten spaces and blurry memories are quite devastating, because they can be interpreted in different ways, and I suppose they will be further illuminated by the overall concept and direction of the album.
 

I don’t know, I’m quite optimistic about the final result. But I’ll reserve my judgment until I get to listen to the entire record. 

[tulsa 2,829]

it does scare me a bit how the syml sample will sound, cause she just used one of his songs and sang over it... 

[Venice Peach 52,982]

I like the chorus but the verses have to be my favorite part. Such a pretty melody and lyrics 

This album is going to destroy me. I do hope we get the tracklist before release tho I'm still impatient about it 

[Deleted Member 23,765]

Just now, Masquerade said:

I mean no rudeness in saying this, but I have to disagree that the extravagance of her first few albums is the result of her needing to "play the game." I think this could apply to BTD to some extent as we know that album had the most label meddling of any of her albums (i.e., them wanting hip hop beats to make it more trendy). in the albums that followed, however, I think we saw different kinds of extravagance that were natural outgrowths of her changing vision and artistic inclinations. to say that an album like Honeymoon was crafted with the stress of "playing the game" in mind seems like a bit of  a stretch because it is one of her least commercially successful releases but remains one of her most grand and soaring. I worry that by implying that she was motivated by "playing the game" with her first several albums denies her her agency in crafting such remarkable and larger-than-life eras

i never said the extravagance of the music, it’s the extravagance of the “era”, you know, the big hair, the caked makeup everyday, showing up to every red carpet event, the endless interviews. that’s the game she needed to play for a little bit, but she’s always wanted to just live life and make music. she never cared about the glamor and insane promotion of BTD/Paradise, and if she did, she experienced it! she did that now, she just wants to live and be with her friends and make music again. that’s what NFR/Chemtrails/Blue Banisters/Violet are all about, shes told us this

[Orville Peck 22,846]

omg

[Poor Stacy 11,993]

The fact that some "Lana fans" don't feel or even connect to the potent emotion and longing in this song today is just ... unfortunate.

 

 

No one can ruin this era for me. I have such an incredible feeling about this album. Can't even explain it. I'm buzzing.

[tulsa 2,829]

2 minutes ago, BlueGreenGray said:

People clutching their pearls and jumping into conclusions about the overall sound and direction of LDR9 despite the fact that BOZ said that the album is «so wild that he couldn’t believe that he loved it that much» and that it has a lot of variety and lush instrumentation is just sending me. Not to mention that she’s working with several new people on this record (Batiste, Genesis, etc.). It’s pretty obvious that she’s currently fond of a more mellow/grounded/subtle sound and focuses on her conversational/free-flowing poetic lyricism, but there is space for sonic experimentation - see BOZ’s description of A&W - and vocal as well (White Dress on COCC; Sweet Carolina and Arcadia on BB). I happen to be a fan of her latest records, probably because I prefer my music sparser. Hopefully this new body of work is cohesive and showcases artistic growth. Pitchfork’s review was excellent: the title track is an admittedly dreamier and more lush version of her latest style, sure,  but it also reveals little details in its sonic direction and influences - the sigh of relief; the celebratory choir; the tiny mumbling; the buildup; the crescendo of warmth -, as well as in its lyrics - the writing is far more layered and, dare I say, contradictory than expected: it’s both nostalgic and mournful; its deceptively straightforward metaphors about the fleetingness of life, forgotten spaces and blurry memories are quite devastating, and surely will be further illuminated by the new project. I don’t know, I’m quite optimistic about the final result. But I’ll reserve my judgment until I get to listen to the entire record. 

what did BOZ say ab A&W?? 

[the ocean 67,621]

why are we still arguing about opinions? shut up!

i'm taking my love me til i love myself out of this thread, y'all don't deserve her atp

also sorry elle for snapping and sorry that you have to clean up this mess

[marryingkind 2,491]

5 minutes ago, Alison by Slowdive said:

american & whorey 

That’s how I’d describe myself if I was american and whorey

[Apple n Apple 362]

4 minutes ago, Xenoblade 3 said:

That would be great. But no, we’re getting another quiet barely audio piano notes for 1234567th time.

 

I’ve been listening to Jon Batiste lately and ended up listening the Soul score. I wouldn’t mind her automatic writing on something like this.

 

 

I have a bit of hope because of the tommy genesis feat. and also the constant teasing of HBTB and Summer Bummer by insider. Fingercrossed!

[Vertimus 8,947]

1 minute ago, The Love Witch said:

Just cause she has released something worse doesn’t mean that this song has to sound better to all of us.

To me, there is barely any improvement here. A choir and a few strings here and there won’t save it if the melody just isn’t intriguing. There were a few songs on the last three albums that had great melodies but didn’t reach their full potential because of the very scarce production. This song is a case where the production is less scarce but still too minimalistic, especially cause the melody and her vocals are incredibly weak here.

So far, on the new song, I haven’t heard anything of a sustained melody, though maybe one will jump out at me over the next few days or weeks. As I see it, no amount of orchestration or instrumentation could have punched it up as a result. 

[Crazy Husband Thief 3,791]

4 minutes ago, Masquerade said:

I mean no rudeness in saying this, but I have to disagree that the extravagance of her first few albums is the result of her needing to "play the game." I think this could apply to BTD to some extent as we know that album had the most label meddling of any of her albums (i.e., them wanting hip hop beats to make it more trendy). in the albums that followed, however, I think we saw different kinds of extravagance that were natural outgrowths of her changing vision and artistic inclinations. to say that an album like Honeymoon was crafted with the stress of "playing the game" in mind seems like a bit of  a stretch because it is one of her least commercially successful releases but remains one of her most grand and soaring. I worry that by implying that she was motivated by "playing the game" with her first several albums denies her her agency in crafting such remarkable and larger-than-life eras

Actually, after the acclaim she got with NFR it seems more like she was stressed to replicate THAT. Never before has she been this consistent in sound. 

What I find incredibly disappointing about all of this is that when she had a true vision and passion for her music and art, she was dragged to the pits by stupid critics and even her label. Now she thinks the only way to get critical acclaim is if she releases Folkwhore/Everbore 2.0.

 

THAT is playing the game.

[trailerparkdream 1,215]

4 minutes ago, The Love Witch said:

Just cause she has released something worse doesn’t mean that this song has to sound better to all of us.

To me, there is barely any improvement here. A choir and a few strings here and there won’t save it if the melody just isn’t intriguing. There were a few songs on the last three albums that had great melodies but didn’t reach their full potential because of the very scarce production. This song is a case where the production is less scarce but still too minimalistic, especially cause the melody and her vocals are incredibly weak here.

I’m genuinely asking just out of curiosity, what are your favorite Lana songs or like which songs of hers reach her full potential in your opinion? 
im curious because I disagree with a lot of your opinions but I don’t mean that in a rude or negative way… I just want to know! I love everything Lana so I’m not here to judges

[Xenoblade 3 2,065]

1 hour ago, BlueGreenGray said:

People clutching their pearls and jumping into conclusions about the overall sound and direction of LDR9 despite the fact that BOZ said that the album is «so wild that he couldn’t believe that he loved it that much» and that it has a lot of variety and lush instrumentation is just sending me. Not to mention that she’s working with several new people on this record (Batiste, Genesis, etc.). It’s pretty obvious that she’s currently fond of a more mellow/grounded/subtle sound and focuses on her conversational/free-flowing poetic lyricism, but there is space for sonic experimentation - see BOZ’s description of A&W - and vocal as well (White Dress on COCC; Sweet Carolina and Arcadia on BB). I happen to be a fan of her latest records, probably because I prefer my music sparser. Hopefully this new body of work is cohesive and showcases artistic growth. Pitchfork’s review was excellent: the title track is an admittedly dreamier and more lush version of her latest style, sure,  but it also reveals little details in its sonic direction and influences - the sigh of relief; the celebratory choir; the tiny mumbling; the buildup; the crescendo of warmth -, as well as in its lyrics - the writing is far more layered and, dare I say, contradictory than expected: it’s both nostalgic and mournful; its deceptively straightforward metaphors about the fleetingness of life, forgotten spaces and blurry memories are quite devastating, and surely will be further illuminated by the new project. I don’t know, I’m quite optimistic about the final result. But I’ll reserve my judgment until I get to listen to the entire record. 

It’s her fault for choosing another dud as a lead. 3 dud leads in a row. Does not inspire confidence.

And pitchfork is right. No BNT for her. Venice Bitch got Best New Track (as it should ). People don’t understand how great NFR was. Lana was making production heavy sounds until that album. It was a big shift sonically, hence why it was so lauded. She’s not making anymore shifts after that which is just sad.

[Orville Peck 22,846]

BOZ said we would all find something to like about the album. and Ed also mentioned something like this on IG

[prettywhenimhigh 48,493]

7 minutes ago, CinnamonGay said:

so.. 3 features(vocals?)

 

I think so! it's scary at first when we look at the amount of people I know lol

[Jeanne Dielman 5,844]

3 minutes ago, tulsaglory said:

what did BOZ say ab A&W?? 

He said that it’s « fucking wild » and the sounds they came up with are « unprecedented » compared to their previous work together. It could be a disaster, but it certainly sounds interesting. 

[tulsa 2,829]

OK BACK TO SPECULATION how do u imagine the closing track to sound ?? at first i thought it was going to be a dramatic song but looking back at the past albums, it must be a ver mellow and slow song, very reflective and nostalgic but in a calm and way. i think the right word would be "acceptance". accepting where she's at right now maybe. BB was about her past, her present and her future. this single is about her current present emotions, maybe that'll be the theme of the album. anyway what are ur expectations for the closing track 

[Deleted Member 23,765]

idk, if i were lana it would just kind of suck. if i did deliver the big eras, displayed and proved my versatility, won the critics and general public over, secured my legacy, and felt like i fulfilled my purpose and now deserved to relax, hang out with my friends, and simply make the music that comes out naturally and is fun to create just because i love making art. and then people started bashing me for not doing what i was doing 10 years ago. and it would suck more since i have actively been telling them exactly where i have been in my life through my art for the last 5 years