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Did you know that there's a tunnel under Ocean Blvd - Post-Release Discussion Thread + Poll

Did you know that there's a tunnel under Ocean Blvd - Poll  

1,059 members have voted

  1. 1. What are your favourite tracks from Did you know that there's a tunnel under Ocean Blvd?

    • The Grants
      249
    • Did you know that there's a tunnel under Ocean Blvd
      356
    • Sweet
      233
    • A&W
      609
    • Judah Smith Interlude
      63
    • Candy Necklace (feat. Jon Batiste)
      555
    • Jon Batiste Interlude
      114
    • Kintsugi
      296
    • Fingertips
      343
    • Paris, Texas (feat. SYML)
      486
    • Grandfather please stand on the shoulders of my father while he's deep-sea fishing
      428
    • Let The Light In (feat. Father John Misty)
      496
    • Margaret (feat. Bleachers)
      260
    • Fishtail
      411
    • Peppers (feat. Tommy Genesis)
      468
    • Taco Truck x VB
      519


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10 minutes ago, Venice Jesus Whore said:

y'all hyped the hell out of gpsotsomfwhdsf in the pre-release and now there's like 3 ppl talking abt that song :derpna3:

it's totally been in my head though all morning i've been going "aaaaeeeeyeaaaahhhh, aaaaaeeeeyeaaahhhhh"


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There's definitely some nostalgia factor with unreleased tracks that causes them to get praised disproportionately. I've seen someone claim that Earthquakes is better than A&W. If it was the other way around and Lana would have released Earthquakes and A&W was the unreleased one then this forum would have a meltdown about how Lana is always "stripping back" her instrumentals.

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2 hours ago, evalionisameme said:

People were converted by this album? :bebe:  what would they be influenced by on this album? I’m genuinely not trying to be sarcastic- it’s not a new sound, just her trying out how to blend unconventional song structures into her world.

 

we will see I guess 

Did the original member mean, by "converted," the word in the strict sense, people who previously didn't like Lana or had previously written her off as an artist? I can see a lot of reasons why this might happen, some of which have nothing to do with the musical content of OC per se

 

There's no doubt that some see something risqué in 'A&W,' the same way 'Dealer' caught the attention of so many on Tik Tok for a few weeks. That is, there's a kind of temporary novelty value to a particular track, and the transition and the 'Jimmy Jimmy Coco Puffs' part would certainly help that along. 

 

Also, 'OC' has so much Stan energy behind it, and overall positive critical reaction, that a generalized internet buzz might very likely influence a lot of people across the world, a combination of word-of-mouth and trendiness. 

 

We've seen how so many here have responded to the title track, so it's likely that millions of others, of 'outsiders' or 'newbies' have as well, have related to it. 

 

And for some, who haven't listened to a Lana album since LFL or even BTD/P, its soundscape might not mesh with their negative expectations at all, and so they're responding to it as something new in her catalog. 

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3 minutes ago, hotshot2am said:

There's definitely some nostalgia factor with unreleased tracks that causes them to get praised disproportionately. I've seen someone claim that Earthquakes is better than A&W. If it was the other way around and Lana would have released Earthquakes and A&W was the unreleased one then this forum would have a meltdown about how Lana is always "stripping back" her instrumentals.

They are deaf, probably. None of the leaked tracks is better than A&W, even if combined. :smokes:

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6 minutes ago, hotshot2am said:

There's definitely some nostalgia factor with unreleased tracks that causes them to get praised disproportionately. I've seen someone claim that Earthquakes is better than A&W. If it was the other way around and Lana would have released Earthquakes and A&W was the unreleased one then this forum would have a meltdown about how Lana is always "stripping back" her instrumentals.

Earthquakes is not better than A&W.... I understand everybody hears different things but can we say this is objectively false :stareney: 


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2 hours ago, tulsa jesus freaks said:

i have a confession :bebe:

i love the album and the songs are great but i haven't listened to it since the release week, i don't know if it's because it all felt so long with all the snippets, and the album related leaks etc, or simply because i'm the mood for something else atm, but i find myself listening to the recent leaks way more than Ocean Blvd.

i woke up with LTLI playing non stop in my mind this morning so that's good

 

I can definitely see it being a mood thing. This album is very emotionally heavy and slow for the majority of it. I also think this one of those albums where the songs are stronger together as one album than listened to individually. I’ve found myself listening to the album a lot, but mostly only going from start to finish. There are a good chunk of songs that aren’t usually my favorite style to listen to on their own, but I love them in the context of the album.

 

I also think that because it’s a more experimental and nuanced album, it’s less accessible, which means it’s probably not going to be as replayable or as easy/quick to listen to as a lot of her other music. If you’re not in the mood for it, it’s an hour and 18 minutes of heavy emotions and of pretty much the same dark, slow mood until the last 3 tracks or maybe until grandfather or LTLI.

 

This is kinda the same reason I can’t listen to the entirety of UV or HM a lot. I think they’re both masterpieces in their own way, but digesting them as a whole is a LOT. I need to be in a certain mood for them.


  It’s not about having someone to love me anymore

This is the experience of being an American whore

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17 minutes ago, hotshot2am said:

There's definitely some nostalgia factor with unreleased tracks that causes them to get praised disproportionately. I've seen someone claim that Earthquakes is better than A&W. If it was the other way around and Lana would have released Earthquakes and A&W was the unreleased one then this forum would have a meltdown about how Lana is always "stripping back" her instrumentals.

Maybe it’s the sonority and use of words, for example pink champagne / let me love you like a woman:

i really enjoy where Lana is going with recent projects but you can definitely tell the era of previous songs and for me it’s both because it resonates with a precise time of my life and the feeling some instruments and lyrics provide. 
 

Now she is going in a musical voyage but before i feel it was more about us travelling with her. I don’t know if that makes sense but this is why recent songs are different for me.

I still love it, it’s just two different feelings.


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8 hours ago, Future Jazz said:

i’m sorry but i really don’t think this is the follow-up to nfr… in my opinion 1) they’re really different as this one is so much more inspired, experimental, it is miles ahead in terms of lyrical content and variety. i get that nfr is much more liked than chemtrails or blue banisters but 2) objectively this album is much more a continuation of blue banisters than of nfr. the reasons for this are the piano ballads which sound much more like blue banisters than nfr (vocally and production wise), the family themes, the introspection, the multiple references to her past, the somewhat political lines, the allusions to the critics, this is all reminiscent of blue banisters and not of nfr. honestly it doesn’t make sense to erase chemtrails and blue banisters just because they’re disliked when this record is in many ways a continuation of blue banisters and in no way a continuation of nfr, whether it be in terms of vocals, in terms of lyrics, in terms of production :bebe:

I think people are mainly saying this because the amount of work she seemed to put into TUOB and how ‘major’ the album seems (not uncommon to hear people say during the pre-release “I haven’t been this excited for an album from her since NFR”) .

 

 I see it a bit as closure for all of her newer’ albums and to say it’s more similar to NFR vs. COCC vs BB is a bit pointless because it draws from all of them (for example, saying that the singer-songwriter songs are more similar to BB when LFL/NFR introduced them to her discography in the first place). This album’s an amalgamation of all of the sounds and themes of these albums (even some parts of LFL). I will point out though that it does literally end with an NFR song and samples NFR more than any of her other albums, i don’t blame people for some of their opinions on their similarities  


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7 minutes ago, beigehydrangea said:

Maybe it’s the sonority and use of words, for example pink champagne / let me love you like a woman:

i really enjoy where Lana is going with recent projects but you can definitely tell the era of previous songs and for me it’s both because it resonates with a precise time of my life and the feeling some instruments and lyrics provide. 
 

Now she is going in a musical voyage but before i feel it was more about us travelling with her. I don’t know if that makes sense but this is why recent songs are different for me.

I still love it, it’s just two different feelings.

I think that expresses it well. 

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3 minutes ago, Vertimus said:

Now she is going in a musical voyage but before i feel it was more about us travelling with her. I don’t know if that makes sense but this is why recent songs are different for me.

I really feel like this is why Lust For Life holds such a special place in my heart because she was really talking *to* her fans with this record


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2 minutes ago, jaesana said:

I really feel like this is why Lust For Life holds such a special place in my heart because she was really talking *to* her fans with this record

And I love LFL for the most part: '13 Beaches,' 'WTWWAWWKOD,' 'White Mustang,' 'Heroin,' 'BPBP,' 'Tomorrow Never Came,' 'God Bless America,' 'Summer Bummer,' 'IMF,'  and 'Cherry,' and I've warmed to 'Love' well enough. The rest I don't care for (though I loved the piano-driver original demo version of 'LFL'), but I was more than happy with it then and remain so. 

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14 minutes ago, Vertimus said:

And I love LFL for the most part: '13 Beaches,' 'WTWWAWWKOD,' 'White Mustang,' 'Heroin,' 'BPBP,' 'Tomorrow Never Came,' 'God Bless America,' 'Summer Bummer,' 'IMF,'  and 'Cherry,' and I've warmed to 'Love' well enough. The rest I don't care for (though I loved the piano-driver original demo version of 'LFL'), but I was more than happy with it then and remain so. 

Yeah. Starting off an album with "Look at you kids" was so :wub: as a high schooler


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