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Unpopular Lana Opinions

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I really worship our elusive siren, but excessive tankers of flowers again (in the booklet) give me pollen allergy. Too busy, cluttered, dappled, patchy, tricked and arabesque-like. Too claustrophobic. It would be refreshing if she continued that oceanic, navy, captain-like, peeping-tom, beach and salty breeze, minimalistic aesthetics, something that softly opens to vast infinity. Or, since she promised surrealism with diamonds in the skies, more exotic, monumental, enigmatic or strange looking plants. Lush underwater bodies, orgy in the cult, rainbow waves, violet haze, optical illusions and neon letters and traces would be a step into yet unknown dreamlands. I wished for psychedelic and unknown over muggy and sticky floral bushes in my granny's garden. They remind me of ornate living wall she wants to surronud herself with, like Norma Desmond in her desolate residency, and become totally invisible, sinked in her own private quicksand of imploding emotions.

 

Wow, another incredible post from you! please keep them coming .. :)

will you please write the lyrics for an album for me someday? :D

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I don't like High by the Beach. I bet some people like Lana having this badass gangsta bitch persona in this song, but for me the lyrics are just ewww.... the only thing I like about the song is the PMIAM throwback. 


i am nothing and should be everything

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A few days after release...I think Honeymoon is simultaneously both her musical best and her most...boring. I like the songs, but something about the album as a whole bores me to tears.


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A few days after release...I think Honeymoon is simultaneously both her musical best and her most...boring. I like the songs, but something about the album as a whole bores me to tears.

 

interestingly said.. yes, i had some major emotional thoughts after listening the first time to Honeymoon in full, cranked up with good headphones.

I love her voice in all of it. In some of it, the production is a bit over the top with the muffled vibe, and hides her voice sometimes.. (I love they way she sounded

on the BBC performances yesterday. In fact it sounded better, than some of the album production strangely enough.

 

I see what you mean about the musical best, and at the same time most boring. I think there should have been a few more uptempo songs in the mix,

and a better cohesion, as i was almost shocked after going thru the whole album, how it all just ended, and like kinda left me feeling like.. i don't know, confused

and wondering a little..and also a little bit worried about Lana for some reason. (But she looks and sounds so happy in any thing we see of her these days.)

i have a few songs on HM i'm totally in love with. She sounds fucking beautiful and heavenly to me..like an angel LOL.. but at the same time, would be so cool

for her to have maybe (just thought of it right now..), made this a double album, with the second CD the more upbeat heavier sounding songs. That would have been

super cool.

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A few days after release...I think Honeymoon is simultaneously both her musical best and her most...boring.

This pretty much sums up how I feel about the record. I feel like all of the songs are beautiful melodically and are rather interesting production-wise (excluding a few tracks), and she sounds so ethereal and angelic throughout most of the album, albeit, I don't feel any sort of connection this album like I have her previous works. It's not that it's emotionless, because I think at certain moments she sounds extremely emotional, but I just personally am struggling to relate or empathise with the album as a whole. Like, the songs are amazing, but I just don't feel much of anything when I listen to the album, like I do with songs like Bel Air, Video Games, Born to Die, Ultraviolence, West Coast, Shades of Cool, Gods & Monsters, and so on. Honeymoon is almost too relaxed.

 

Also, the lyrics are a huge step-down compared to all of her last albums, in my opinion. What happened to the elaborate descriptions of Off to the Races, or the poetic nature of songs like Bel Air and West Coast, or the intelligent lyricism behind songs like Gods & Monsters or Dark Paradise? I miss those days. Honeymoon has pretty mediocre lyrics compared to the past, and I think Lana even knows that herself, considering she mentioned in a couple of interviews this era that she wasn't very focused on the lyrics, but more on creating interesting soundscapes. Apart from the bridge and the "dreaming away your life" lines in the title track, the lyrics are overly-simplistic and rather cliche. God Knows I Tried, Swan Song and Honeymoon all suffer from Sad Girl Chorus syndrome, where the choruses contain some of the laziest lyrics in Lana's history. Even one of my favourite tracks on the album, Salvatore, has some odd lyrics that are overly quirky ("soft ice cream", "cacciatore" anyone?) 24 is perhaps the biggest lyrical disappointment on the album.

 

Overall, it's a lovely album that I really do admire, but I feel like it's even more of a mood record than Ultraviolence. It's a record I'm sure I'll put on to calm myself down or when I'm feeling relaxed, but it's not an album you can play whenever, if that makes sense. Still really appreciate that Lana is putting out new material so quickly and very beautiful music as well, but I can't deny the fact that in some ways, Lana did get worse this era.

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Oh god for give me for I'm about to sin in a massive way :crying5:

 

 

I really wish Lana would stop covering Nina Simone tracks.She's tried her best covering TOW and DLMBM but it always feels lackluster somehow. IDK those type of songs don't suit her voice at all IMO. I'm also massively put off by the production on both of them aswell....

i share this exact opinion. TOW and DLMBM lack substance, and are such a bore to me, it's a chore to actually get through them. I understand the 'tradition' she's created but it needs to end asap because i really do not like it


FzytWEW.png

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I don't know if people realize- Don't let me be misunderstood which was written for Nina, had 3 American hit versions in 3 different eras

1950s Nina

1960s Animals had a rock version

1970s Santa Esmeralda had a disco version

 

Lana's is a blend of the first two making it into her own vision of it with her own meaning coming through. She is not imitating here.

 

And The Other Woman fit the theme of Ultraviolence so well, (and should have been used in the final episode of Mad Men on tv if they had a scene of all the girls who slept with Jon Hamm over the years juxtaposed with his wife throughout the years).


Lana is our modern day Edith Piaf. Totally unique. a mixture of Brian WIlson Roy Orbison, Leonard Cohen, Gram Parsons, Elton & Bernie. Born to Die/Paradise is comparable to Elton's Captain Fantastic. All the records need to be listened whole. Waiting for a box set vinyl of all 400 songs not on any lp

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This pretty much sums up how I feel about the record. I feel like all of the songs are beautiful melodically and are rather interesting production-wise (excluding a few tracks), and she sounds so ethereal and angelic throughout most of the album, albeit, I don't feel any sort of connection this album like I have her previous works. It's not that it's emotionless, because I think at certain moments she sounds extremely emotional, but I just personally am struggling to relate or empathise with the album as a whole. Like, the songs are amazing, but I just don't feel much of anything when I listen to the album, like I do with songs like Bel Air, Video Games, Born to Die, Ultraviolence, West Coast, Shades of Cool, Gods & Monsters, and so on. Honeymoon is almost too relaxed.

 

Also, the lyrics are a huge step-down compared to all of her last albums, in my opinion. What happened to the elaborate descriptions of Off to the Races, or the poetic nature of songs like Bel Air and West Coast, or the intelligent lyricism behind songs like Gods & Monsters or Dark Paradise? I miss those days. Honeymoon has pretty mediocre lyrics compared to the past, and I think Lana even knows that herself, considering she mentioned in a couple of interviews this era that she wasn't very focused on the lyrics, but more on creating interesting soundscapes. Apart from the bridge and the "dreaming away your life" lines in the title track, the lyrics are overly-simplistic and rather cliche. God Knows I Tried, Swan Song and Honeymoon all suffer from Sad Girl Chorus syndrome, where the choruses contain some of the laziest lyrics in Lana's history. Even one of my favourite tracks on the album, Salvatore, has some odd lyrics that are overly quirky ("soft ice cream", "cacciatore" anyone?) 24 is perhaps the biggest lyrical disappointment on the album.

 

Overall, it's a lovely album that I really do admire, but I feel like it's even more of a mood record than Ultraviolence. It's a record I'm sure I'll put on to calm myself down or when I'm feeling relaxed, but it's not an album you can play whenever, if that makes sense. Still really appreciate that Lana is putting out new material so quickly and very beautiful music as well, but I can't deny the fact that in some ways, Lana did get worse this era.

well written post. yes agree with alot of this.

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For me, the Honeymoon cover is disappointing but nonetheless meaningful. She's the starlet holding us at a distance. The photos in which she's wearing sunglasses make it seem like she could be happy. But then in the center spread (and the UO cover) you get to see the real story on her face. And it hearkens back to Ultraviolence.


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Honeymoon is a nice album and I'm glad we have it but it's my least favourite so far. All the songs themselves are nice, but there is nothing ... spectacular or extremely good about it.

I hope her next album will be a little bit more "eventful" again.


Just do it. Just do it - don't wait!

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I don't know if people realize- Don't let me be misunderstood which was written for Nina, had 3 American hit versions in 3 different eras

1950s Nina

1960s Animals had a rock version

1970s Santa Esmeralda had a disco version

 

Lana's is a blend of the first two making it into her own vision of it with her own meaning coming through. She is not imitating here.

 

And The Other Woman fit the theme of Ultraviolence so well, (and should have been used in the final episode of Mad Men on tv if they had a scene of all the girls who slept with Jon Hamm over the years juxtaposed with his wife throughout the years).

 

I know that there have been other covers of DLMBM, it's just that her Nina Simone covers aren't nearly as good as the others. It's not even that they were bad, it's just that compared to Nina's versions and even to the other covers...they lacked something.


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