Honeymoon - Post-Release Discussion Thread + Poll

[Chiunzhan 1,480]

here :

 

https://vignette.wikia.nocookie.net/lanadelrey/images/b/b8/CG_HM_1.jpg/revision/latest?cb=20151024184819&format=original

 

 

THANK YOU SO MUCH!!!!! <3

[Fingertips 72,051]

Really liked the original idea of the record being called Music to Watch Boys to... Honeymoon is okay too because the title track is fantastic but

 

 

If Ultraviolence didn't come right before Honeymoon, I would have loved that. For me, Honeymoon and Ultraviolence are one word titled, Ying/Yang type of records

[poetic jess 2,340]

Honeymoon deserved an intimate venue type of tour where she didn’t have to “perform” on stage and just be creative with her vocals by herself. Like the way she performed Terrence Loves You, she takes a seat, belts and gets into it during that song. The stage set could’ve had the same color theme as the Endless Summer Tour, but smaller, indoors, and would make the audience feel like they’re in a jazz club. Ugh... what could’ve been...

[takeitdoen 10,629]

Just wait for 10 years and we'll have Lana do a tour where she performs with symphonies around the world. Dare to dream.

[domandapiano 12,113]

I was so surprised when this was announced and released so soon after UV. Its so mellow and definitely a slow burn. I wasn't that into it at first as a whole but I've come to like it a lot. The title track gets some hate, but its one her most cinematic songs (and one of the only ones that actually sounds like it has real strings in it). Her BBC performance of it is God Tier and I actually prefer it to the OG. The guitar replacing the strings is so HAUNTING. The synth instead of backing vocals. <3 The rock out during the 'dreaming away your life' part. <3 It's perfect. I wish her concerts were more like this shit. 

 

This album (like UV and BTD kinda) I think is MUCH stronger in its first half. I love it all up until right after burnt Norton and I think it loses a bit of steam. Hot take but The Blackest Day and Religion and Salvatore are not in my top songs by her by ANY means. They aren't bad, but I never feel compelled to listen to them on their own. The creepy laughing man in Salvatore is amazing tho and its my favorite part of the song and one of my favorite moments on the record. The cover is maybe my least favorite by her. Its just whatever. 

 

Anyways, a very good, cohesive record, but the second half loses me. 

[LanaBoi 1,810]

Honeymoon deserved an intimate venue type of tour where she didn’t have to “perform” on stage and just be creative with her vocals by herself. Like the way she performed Terrence Loves You, she takes a seat, belts and gets into it during that song. The stage set could’ve had the same color theme as the Endless Summer Tour, but smaller, indoors, and would make the audience feel like they’re in a jazz club. Ugh... what could’ve been...

 

 

I was thinking about this just the other day... Oh my gosh it would have been beautiful..

 

 

Just wait for 10 years and we'll have Lana do a tour where she performs with symphonies around the world. Dare to dream.

A boy can dream......

[Off To The Races 2010 demo pls 19,336]

First of all: I bet y'all already know how terrible my english is, so whatever

 

 

Honeymoon slowly became my favorite Lana album so far, which is very ironic because it used to be my least favorite album lol. However, a while ago I decided to give Honeymoon more appreciation because I felt like it was getting too overhated by the people, and honestly I couldn't believe the fact that LFL was getting more love and appreciation even though being her worst album to the date.

 

So yup, I started to listen to this album constantly and each song began to grow very easily on me.

 

To be honest, the dreamy, magical, haunting, soft and beautiful sound of this album gives me such a good feeling that Ultraviolence hasn't given me before, which is a curious thing lol. About its lyrical content, I definitely think it is a bit more melancholic and sad than Ultraviolence, but also very cinematic and beautiful to me. And about the flawless visuals and aesthetic that this era served, well... I have no words to give.

 

So yeah, I feel hypocrate and sorry to Honeymoon 'cause I truly was a hater, and now it has turned into my favorite Lana album

 

I will always think that this album deserved better, since it really is a great project

 

[TheBoss 13,517]

Terrence Love You turns 4! A classic

[sweetie 6,628]

I clicked on a Honeymoon track by accident, after not having listened for months, and whew chile... it just reaffirmed to me what a GORGEOUS sounding album this is. The reverb is just perfect, adding a rich luscious touch to the sonic atmosphere. Her silky vocals enveloping the sweeping strings, scattered piano embellishments and softly subdued bass. It hits so lightly on the ears yet it carries so much emotional weight with it. Yes ma'am she done did that 

[WilshireBoulevard 5,421]

Could all of the songs on Honeymoon be directed to the Lizzy persona in a way? I was looking at the lyrics for Terrence loves you and it seemed to fit perfectly. There are a couple of songs (honeymoon, mtwbt, maybe religion, 24) that don't seem to fit as well but taking a loose interpretation of some of the songs, they seem to fit the mismatch between Lizzy/Lana that doesn't seem as prominent now. Ultraviolence is more of an exploration of the darker parts of the LDR persona that get romanticized in born to die, whereas Honeymoon feels more and more like an apology to Lizzy for leaving her behind, and a marrying of the two parts of her so she could move onto who we've seen since in LFL and NFR. I'm going to spoiler out the Lizzy-directed interpretations of each song because I'm aware this could be kind of boring lmao.

 

 

This is a lot longer than I expected- I was originally planning on just talking about Terrence lmao. I’ll put this in a blog post too because of how long it is. In writing it I realised that the way I view Lizzy/Lana could be misinterpreted. I want to make it clear that I know they are one person, and that this interpretation of the album could seem ridiculous. However, in this spoilered part, I just want to clarify what I mean.

 

Personally, I’m a very different person to who I was four years ago- and that’s just four years of a much smaller life than the one Lana lives. I can’t imagine how she views her past when so many people, not just me of course, view their past self with tenderness and sadness and a want to protect them.

 

And again, I can’t imagine what it would be like to have a different name to my past self. Lana became famous by becoming Lana del Rey, and while of course she was the same person, there’s probably a lot of emotions involved when there’s a whole life lived as Lizzy Grant. If the Lizzy-like wig in the Doin’ Time video and the references to her longer-than-BTD career in recent interviews are an indication, hopefully some people’s wishes can come true and AKA can be re-released. If that happens- and I hope it does- I think Honeymoon played a big part in forgiving her past and coming to terms with how it’s shaped her present.

 

Honeymoon:

To me the first verse could be Lizzy to Lana- there's no one for you but me, it's not fashionable to love me, etc. The second verse feels more Lana to Lizzy. She used to speak in earlier interviews about her past and the dangerous things she would do back before LDR existed. A part of me thinks that the Lizzy-to-Lana change might have in part been an attempt to get away from the past, the drinking, the drugs, but this album and in particular this song is her realizing that she's still Lizzy and that doesn't have to be a bad thing. The title and the chorus, honeymoon, could be referring to the (metaphorical obvs) marriage between Lizzy and Lana.

 

Music To Watch Boys To:

I don't have much to say about this one other than the second (?) verse: "...I know what only the girls know / Lies can buy eternity / I, I see you leaving / So I push record and watch you leave"

 

Again, I think in an early interview, the one when she wears the racecar jacket, she says she feels 'protective of her' (her as in Lana), and a lot of her earlier career brought accusations of Lana being fake and an industry plant. Obviously not making her career as Lizzy public knowledge isn't lying, but a lot of the Lana persona was more of a creation than a truth, and it was a creation that did launch her to fame (lies can buy eternity). The 'I see you leaving’ part could maybe be a more complex aspect of seeing it through Lizzy’s eyes, watching herself leave to move to LA and getting left behind in what would be a bittersweet moment. The ‘push record’ part- obviously they’re still the same person but I wonder if, in the early parts of being known as Lana del Rey and being invited to red carpet events, she felt like that part of her was fake but inspired the not-fake part of her (Lizzy) to write songs (and push record)…? Idk. 

 

Terrence Loves You: 

  This one is a goldmine, and feels the most like an apology to Lizzy. Like honeymoon, it makes the most sense to me if the first verse is from Lizzy to Lana- ‘I don’t matter to anyone but you’ll never grow old (because she found fame not as Lizzy, but as Lana, so that’s who will go down as a legend),’ ‘all of what’s hidden will never grow cold,’ all of what’s hidden possibly being the music made as Lizzy, and even the life lived as Lizzy. Despite attempts to obscure it, the Lizzy persona is still alive inside Lana- and this can be applied to the chorus, with Lizzy’s songs being the tunes that she gets trashed to. I don’t think I need to expand on the ‘I lost myself when I lost you’ part, or the bridge.

 

God Knows I Tried: 

This, along with HBTB is a kind of regret at reaching the fame that she wanted, and that she ‘destroyed’ Lizzy for. The verses are her current situation, the choruses are how she got to where she is now (doing what she did in the choruses as Lizzy)- living, dying (referenced in Jump), loving, lying, begging, crying, borrowing, losing, and trying. The final part- let there be light, light up my life- is maybe trying to make peace with the Lizzy-Lana situation and finding a kind of redemption through it.

 

High By The Beach: 

This is SO similar to God Knows I Tried, which I never realised until I wrote out the GKIT interpretation lmao. Her fame is the boy she’s talking to, and there’s a big Lizzy throwback in the bridge with lights, camera, acción. This song is Lizzy’s redemption and revenge, referenced in the outro- ‘peace by vengeance brings the end.’ Despite her love-hate relationship with her fame, it gives Lizzy the standing she never got as Lizzy. All the industry guys she says she slept with, and all the industry guys that screwed her over in one way or another(cough cough Mike cough cough)- the bridge is her fuck-you to them, the outro is another redemption for Lizzy-Lana, less light and peaceful than the one in GKIT as it’s through fire and destruction and revenge, but this could be self-forgiveness in recognizing that it was only through destroying Lizzy she would be able to reach heights to get her revenge on those guys through her success.

 

Freak: 

Okay so this is one of the songs that needs to be read much more loosely, so let’s write off the dancing and kissing between Lana and whoever she’s singing to. This is Lana inviting Lizzy back into her life after coming to an understanding in high by the beach and god knows I tried, telling her to ‘screw your anonymity’ (she’s not going to keep Lizzy under wraps anymore), come to California, ‘if you’ll stay, I’ll stay,’ an acknowledgement that she can only get better mentally and live with her fame healthily (i.e. ‘stay’) if she comes to terms with Lizzy not being as erasable as she tried to make her.

 

Art Deco: 

Just describing Lizzy lmao. Again, the last couple of lines change it from describing Lizzy by herself to including both of them.

 

Burnt Norton: 

The poem takes its name from a ruined house in England, and the general feeling of the poem is that the past is unchangeable, the future unknowable, that finding redemption through God is the only way to escape the bounds of time. I’m going to put a part from the end of the poem that makes me think of the Lizzy interpretation a lot in a spoiler:

Words, after speech, reach
Into the silence. Only by the form, the pattern,
Can words or music reach
The stillness, as a Chinese jar still
Moves perpetually in its stillness.
Not the stillness of the violin, while the note lasts,
Not that only, but the co-existence,
Or say that the end precedes the beginning,
And the end and the beginning were always there
Before the beginning and after the end.
And all is always now. Words strain,
Crack and sometimes break, under the burden,
Under the tension, slip, slide, perish,
Decay with imprecision, will not stay in place,
Will not stay still. 

 

Religion: 

Again this needs to be read quite loosely as it’s easy to read it as addressed to a lover rather than herself. This follows nicely from Art Deco and Freak, the true marriage of Lizzy and Lana as one and forgiving herself for what she did to herself, and saying despite the money, drugs, parties, and clubs that separated them once, now they’ll stay together despite what’s going to come in the future.

 

Salvatore: 

I read this as following on from Religion. She’s ‘above her king,’ her king being the men that she’s sang about both as Lana and as Lizzy. Salvatore is mentioned in backfire, and now Lizzy-Lana gets the chance to leave behind the men that have screwed her over and be at peace with herself, eating soft ice cream, working on her tan, with all the lights sparkling for her.

 

Blackest day: 

I read this as Lana trying to live with her inner-conflict despite it having an impact on her relationship with her lover, ‘it’s not easy for me to talk about / A half-life lost in dreams.’ The song can read like the consequences of what happened when she didn’t deal with that inner conflict and the impact it had on her life. She explains that it’s not just a song or a phase in the outro to the listener, and the bridge reads like a mix between her lover telling her to put Lizzy out of her mind, and Lizzy refusing to leave (because she’s a part of Lana herself, and though the lover understands the conflict Lana has with Lizzy, he doesn’t get that Lizzy and Lana are the same person and Lizzy won’t just go away). The conflict that Lana is unable to explain eventually drives the lover away. Maybe, like in HBTB, the lover represents the fame that Lana gained by becoming Lana del Rey. Despite her career as Lizzy being out in the open, the wider public don’t understand the relationship Lana has with her past, and Lana doesn’t want to try and explain it, but it eventually leads to the decay of her love for fame.

 

24: 

This one’s a little difficult, but it can be read as Lana evaluating her past as Lizzy and the mistakes she made, but ultimately accepting and forgiving herself.

 

Swan Song: 

A lot has been written on the Lizzy-Lana interpretation of this. This is another HBTB-bridge, where Lizzy is invited back into Lana’s life and given everything she worked so hard for but didn’t get to experience as herself. This song is the true ending of the album, hence the title. We make fun of LfL, but it has an important role in her career. It’s the album and era where she really began to feel at peace with herself and with her fame, and I think coming to terms with her past through honeymoon played an important role in it.

 

Don't Let Me Be Misunderstood: 

(Yes I know this is a cover) this can feel like maybe Lizzy speaking to Lana, but also, if Swan Song is the formal manifesto of the album like Get Free is for LfL and Hope is for NFR, this could be her asking the public and the fans not to misunderstand the changes she makes between Honeymoon and LfL, and not to misunderstand Lizzy.

 

[house of balloons 12,795]

What song on Honeymoon makes you cringe? For science. 

[Fingertips 72,051]

What song on Honeymoon makes you cringe? For science.

24

[White Hot 527]

24

Yikes the disrespect

[house of balloons 12,795]

24

24 sweetie i'm so sorry

[Wynwood 19,967]

24

wow and here i was thinking you had good taste

[Fingertips 72,051]

wow and here i was thinking you had good taste

It's ANNOYING and a stain on a otherwise flawless album

[Wynwood 19,967]

It's ANNOYING and a stain on a otherwise flawless album

the stain is DLMBM ​not 24 

[Fingertips 72,051]

the stain is DLMBM ​not 24

I used to think that, until DLMBM has grown on me over the past year!

[Wynwood 19,967]

I used to think that, until DLMBM has grown on me over the past year!

gorl i can never ever get over the baseball game tune organ

[SparkleJumpropeNoose 8,750]

the stain is nonexistent ​not 24 

yeah sounds right