"Lust for Life" Album Recording/Writing Timeline and Creative Process Discussion

[Embach 22,254]

1 minute ago, lanaismamom said:

wait was so good really produced by rick nowels?

I'm pretty sure? He was the one who played the synths too.

[lanaismamom 11,204]

1 minute ago, Embach said:

Is it possible that some of the LFL era outtakes were reworked in NFR era too? I remember Honeymouns said that Lana sent Jack some LFL era concept demos. 

I kinda think that Happiness Is A Butterfly demo is from LFL era. Because Rick was the co-writer of the song. It could also be from the Bartender sessions too. 

yeah its interesting regarding this one specific song but it dont see any other newly made song that couldve been initially been from lfl sessions
at the very least mariners apartment complex could started earlier but i dont think it was recorded during lfl so only happiness that is really debatable 

1 minute ago, Embach said:

I'm pretty sure? He was the one who played the synths too.

oh right i havent checked them thanks

[Embach 22,254]

Just now, lanaismamom said:

yeah its interesting regarding this one specific song but it dont see any other newly made song that couldve been initially been from lfl sessions
at the very least mariners apartment complex could started earlier but i dont think it was recorded during lfl so only happiness that is really debatable 

We might have Hope Is A Dangerous Thing demo from Honeymoon era and/or Lust For Life era because I remember in an interview from December 2018, Lana said that she had written Hope for 3 years.

[lanaismamom 11,204]

1 minute ago, Embach said:

We might have Hope Is A Dangerous Thing demo from Honeymoon era and/or Lust For Life era because I remember in an interview from December 2018, Lana said that she had written Hope for 3 years.

I remember that too but im fairly sure she hasnt recorded it until fully written and the first version was at 29 january 2018, but I would die to hear the lfl version if theres one

[Embach 22,254]

I don't know if any of you care about this or have seen this but I think it's a fitting thread to post this. It's the composite screen of Lust For Life title track with its 129 mixes/stems. Her mixers Kieron Menzies and Dean Reid shared this photo in an interview where they discussed about LFL album in general.

[lanaismamom 11,204]

7 minutes ago, Embach said:

I don't know if any of you care about this or have seen this but I think it's a fitting thread to post this. It's the composite screen of Lust For Life title track with its 129 mixes/stems. Her mixers Kieron Menzies and Dean Reid shared this photo in an interview where they discussed about LFL album in general.

yeah that is such an interesting article, heres the full thing if anybody hasnt seen https://www.soundonsound.com/techniques/inside-track-lana-del-rey-lust-life?amp

[x VB 12,512]

10 hours ago, Veinsineon said:

its hard to imagine if it was that different, other than the inclusion(s) of TNBAR or Yosemite 

Or RBFY

[blackenedrussianpoetry 1,860]

Don’t let this die…

[Embach 22,254]

2 hours ago, blackenedrussianpoetry said:

Don’t let this die…

Ok, let me handle it.

 

I'm certain that my following unoopular opinion/theory is (very) controversial AND LONG! 

 

The so-called "witchy dreamy spacey cosmic folky psychedelic ambient" original concept is a myth. I don't think that the "witchiness" was even the goal for the album. I have also thought that Lana wasn't really certain either what she wanted for the album. Once in 2015 she talked about her thoughts on the new album "like a New York record, less dreamy and more upbeat". Then in 2016 (at the Pre-Grammy Gala?) she said that the upcoming album will have a similar aesthetic with Honeymoon, although in February 2017 Insta livestream she said that LFL will have a retro-futuristic aesthetic. But the album has also Woodstock/1960s-70s hippie aesthetics which are also seen on the album cover which was shot already in June/July 2016 (the hippie-peace inspired looks were also seen in the Festival Tour 2016). Also at first she made some Shangri-Las inspired songs, then after Donald Trump's victory in November 2016, she started to make more politically oriented songs. Also to think that in 2016 she made electro-pop version of Say Yes To Heaven. Then she also was in relationship with G-Eazy in Spring 2017 which in result she started to make more songs. In an interview with a radio in early 2017, she (and later in an another interview Rick Nowels) also said that the album will be mix of everything, that will have different genres. It's either two options:

 

• she was unsure what to do with the album

• it was intentional and I believe this theory more, because you can see that the album's sound has mix from the sound of her old eras (baroque pop, dream pop, hip-hop, trap, trip hop) and the sound of her upcoming/newer sound (folk, acoustic ballads, folktronica, Americana) which are seen in NFR, COTCC and so on. The collaborations were 100% intentional because Abel and Rocky were important people in the start of her breakthrough and Nicks/Lennon are kind of her idols, so she wanted to show people where is she heading to. That's why she later dedicated to the fans because she was saying goodbye to her "old-self", her old sound. I feel like that was kind of her point the whole time.

[blackenedrussianpoetry 1,860]

1 minute ago, Embach said:

Ok, let me handle it.

 

I'm certain that my following unoopular opinion/theory is (very) controversial AND LONG! 

 

The so-called "witchy dreamy spacey cosmic folky psychedelic ambient" original concept is a myth. I don't think that the "witchiness" was even the goal for the album. I have also thought that Lana wasn't really certain either what she wanted for the album. Once in 2015 she talked about her thoughts on the new album "like a New York record, less dreamy and more upbeat". Then in 2016 (at the Pre-Grammy Gala?) she said that the upcoming album will have a similar aesthetic with Honeymoon, although in February 2017 Insta livestream she said that LFL will have a retro-futuristic aesthetic. But the album has also Woodstock/1960s-70s hippie aesthetics which are also seen on the album cover which was shot already in June/July 2016 (the hippie-peace inspired looks were also seen in the Festival Tour 2016). Also at first she made some Shangri-Las inspired songs, then after Donald Trump's victory in November 2016, she started to make more politically oriented songs. Also to think that in 2016 she made electro-pop version of Say Yes To Heaven. Then she also was in relationship with G-Eazy in Spring 2017 which in result she started to make more songs. In an interview with a radio in early 2017, she (and later in an another interview Rick Nowels) also said that the album will be mix of everything, that will have different genres. It's either two options:

 

• she was unsure what to do with the album

• it was intentional and I believe this theory more, because you can see that the album's sound has mix from the sound of her old eras (baroque pop, dream pop, hip-hop, trap, trip hop) and the sound of her upcoming/newer sound (folk, acoustic ballads, folktronica, Americana) which are seen in NFR, COTCC and so on. The collaborations were 100% intentional because Abel and Rocky were important people in the start of her breakthrough and Nicks/Lennon are kind of her idols, so she wanted to show people where is she heading to. That's why she later dedicated to the fans because she was saying goodbye to her "old-self", her old sound. I feel like that was kind of her point the whole time.

That’s what I thought as well. From the beginning I’m quiet sure there isn’t really an aesthetic/environment pinpointing towards a witchy approach among the record. Moreover simply- retrofuturistic. But I do believe the songs started to be more grounded and peaceful in nature story/lyric wise (once again- not the sound)

[Embach 22,254]

5 minutes ago, blackenedrussianpoetry said:

That’s what I thought as well. From the beginning I’m quiet sure there isn’t really an aesthetic/environment pinpointing towards a witchy approach among the record. Moreover simply- retrofuturistic. But I do believe the songs started to be more grounded and peaceful in nature story/lyric wise (once again- not the sound)

I think that early she started writing songs which started to question everything:

Lust For Life demo - questions about her fame

Heroin - questions about her life and life in general

Get Free - questions about her future

13 Beaches - questions about relationships/fame

Architecture - questions about her ex/past

 

Later she wrote kind of songs that are more anxious and doubtful and also wanting to be hopeful:

Cherry, Change, War, Tomorrow, White Mustang, In My Feelings, Coachella, Lust For Life, Summer Bummer, Beautiful People/Problems.

 

Then there are songs that outside look positive but inside are sad:

Love (just accepting things they way they are), Groupie Love (trying to live with fame), God Bless America (trying to live alone).

 

Of course this is my interpretation. But this is the way I have always seen the album.

[lanaismamom 11,204]

 

[Veinsineon 70,998]

Roses Bloom For You
The Next Best American Record

Serene Queen

Cry Kill Die

Silverlake

Everything I Do

Yosemite

If I Die Young

Poetry In Motion

 

omg 

 

[GeminiLanaFan 45,916]

47 minutes ago, Embach said:

Ok, let me handle it.

 

I'm certain that my following unoopular opinion/theory is (very) controversial AND LONG! 

 

The so-called "witchy dreamy spacey cosmic folky psychedelic ambient" original concept is a myth. I don't think that the "witchiness" was even the goal for the album. I have also thought that Lana wasn't really certain either what she wanted for the album. Once in 2015 she talked about her thoughts on the new album "like a New York record, less dreamy and more upbeat". Then in 2016 (at the Pre-Grammy Gala?) she said that the upcoming album will have a similar aesthetic with Honeymoon, although in February 2017 Insta livestream she said that LFL will have a retro-futuristic aesthetic. But the album has also Woodstock/1960s-70s hippie aesthetics which are also seen on the album cover which was shot already in June/July 2016 (the hippie-peace inspired looks were also seen in the Festival Tour 2016). Also at first she made some Shangri-Las inspired songs, then after Donald Trump's victory in November 2016, she started to make more politically oriented songs. Also to think that in 2016 she made electro-pop version of Say Yes To Heaven. Then she also was in relationship with G-Eazy in Spring 2017 which in result she started to make more songs. In an interview with a radio in early 2017, she (and later in an another interview Rick Nowels) also said that the album will be mix of everything, that will have different genres. It's either two options:

 

• she was unsure what to do with the album

• it was intentional and I believe this theory more, because you can see that the album's sound has mix from the sound of her old eras (baroque pop, dream pop, hip-hop, trap, trip hop) and the sound of her upcoming/newer sound (folk, acoustic ballads, folktronica, Americana) which are seen in NFR, COTCC and so on. The collaborations were 100% intentional because Abel and Rocky were important people in the start of her breakthrough and Nicks/Lennon are kind of her idols, so she wanted to show people where is she heading to. That's why she later dedicated to the fans because she was saying goodbye to her "old-self", her old sound. I feel like that was kind of her point the whole time.

I agree 💯! Just like you said, the supposed witchiness vibes come the trailer and her posts about hexing Trump. But other than that, I’m really not sure it even was a thing. Of course, we have some dark songs from that era that can channel witchy vibes in a way (Heroin, Serene Queen) but they also can be associated with the spacey-retro futuristic vibes. 
 

a lot happened in those two years creating this album, which changed the direction of it a lot. 
 

one thing is for sure though: she did say that she sat down early on with interscope to decide what the first two singles would be (my guess is that they wanted a bigger commercial success than HM).

[GeminiLanaFan 45,916]

2 minutes ago, Veinsineon said:

Roses Bloom For You
The Next Best American Record

Serene Queen

Cry Kill Die

Silverlake

Everything I Do

Yosemite

If I Die Young

 

omg 

 

What is Everything I Do, again?  We have so many snippets that Take forever to leak that my brain deletes them to give myself a break 

[lemonadetan 5,049]

7 hours ago, Embach said:

Is it possible that some of the LFL era outtakes were reworked in NFR era too? I remember Honeymouns said that Lana sent Jack some LFL era concept demos. 

I kinda think that Happiness Is A Butterfly demo is from LFL era. Because Rick was the co-writer of the song. It could also be from the Bartender sessions too. 

i think valley of the dolls was sent cause it sounds similar to nfr title track 

[Orville Peck 22,968]

Roses Bloom For You

Serene Queen

Silverlake

Everything I Do

Poetry In Motion

[BartenderDeco 19,407]

there’s light at the end of the tunnel…

[Unknown 3,137]

8 minutes ago, Veinsineon said:

Roses Bloom For You
The Next Best American Record

Serene Queen

Cry Kill Die

Silverlake

Everything I Do

Yosemite

If I Die Young

 

omg 

 

Slay but Cry Kill Die and If I Die Young are Honeymoon outtakes not LFL 

[TrashMagiq 55,434]

mass LFL era leak when