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Lana Del Rey on BBC1 with Fearne Cotton (interview)

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Fearne is so wonderful. spb.gif I like listening to her interviews with Lana. Every time they've talked, you can tell Lana is comfortable with her and that Fearne genuinely enjoys her as a person and artist. It's such a nice departure from the interviews where it's more of a person who's just doing it because she's Lana Del Rey. 


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so now we know why the West Coast video turned out a bit shit. I hope shes lying about still editing her own videos tho because like she said a lot gets lost in the edit (like the drug use scenes and the pillow fight scene) so what shes saying doesnt make sense because then shes the one who purposefully omitted those scenes...

 

and if shes run out of ideas she could just get other people to write the treatments with her like most artists do..

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I like the rapport between these two. They ki ki like two tranny girlfriends, but I wanted more. Fearne gave me what I wanted in the beginning, she seemed to be moving in the right direction, and then BOOM, the interview was done. I really wanted them to elaborate on the "Ultraviolence" conversation. That song gives me so much life, and I would like to hear what Lana's perspective is regarding it, in the audio format.

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"I've seen a record really lose it's character by cleaning things up too much." That BTD shade.

Although I think she's probably talking about BTD, this is something that could easily be said about Paradise too (*cough cough* "Body Electric" *cough cough*), and she could be thinking of AKA as well. She's mentioned in several interviews that it didn't turn out quite the way she wanted and that David Kahne "was interested in a more traditional vocal style" than she was.

 


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Stalking you has sorta become like my occupation.

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I hate to sound annoying but could you explain what that means, please? :)

 

A lot of the negative critics went for UV as being this sort of monotonous dirge; the CD has a very "dark" mastering with all of the transients shaved off and everything sort of compressed so it sounds very uniform without a lot of variation. The vinyl, on the other hand, has a lot of space and air that the CD doesn't have. So, my frustration is that some critics didn't really hear the album at all, but merely what the mastering engineer did to it. http://en.wikipedia.org/wiki/Loudness_war

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