Lust For Life - Post-Release Discussion Thread + Poll

[Amadeus 11,293]

https://mobile.twitter.com/BornsExposed

 

I didn’t really take the time to read all this mess but maybe it’s this? I don’t know if it’s true or if Lana has seen this but I think this is the twitter scandal

U guys rly think lana stalks other musician's stan twitter enough to find an account with 15 followers and then not unfollow him on twitter but on Instagram. Did She even follow him in the first place,

 

 

On another note she followed harry styles in spring so bring that collab along

[Off To The Races 2010 demo pls 19,335]

"But the facts of life can sometimes make it hard to dream"

 

Best line

[WildMustang 14,725]

"But the facts of life can sometimes make it hard to dream"

 

Best line

and then comes the legendary melody with 

"life rocked me like Motley grabbed me by the ribbons in my hair" 

[cashcomesquick 5,379]

Cherry is the crack addicted sister of Freak 

[Cloudbusting 5,383]

U guys rly think lana stalks other musician's stan twitter enough to find an account with 15 followers and then not unfollow him on twitter but on Instagram. Did She even follow him in the first place,

On another note she followed harry styles in spring so bring that collab along

Not really that’s why I said I wasn’t sure Lana has seen that, and yes she did follow him.

 

"But the facts of life can sometimes make it hard to dream"

 

Best line

But then we have the chorus after the bridge

[Off To The Races 2010 demo pls 19,335]

But then we have the chorus after the bridge

[WaitForLife 5,040]

This sould've been the SB video

[Lolito Del Rey 327]

I don't think the fan is lying since Lana said 5 songs didn't make the lfl cut, and she is  fast at writing, but Lana always changes her mind so I wont get my hopes up just yet

[sweetie 6,615]

I'm not sure to what extent this article was discussed but I found it a very interesting read    I'd LOVE to hear the original LFL version 
 
https://www.soundonsound.com/techniques/inside-track-lana-del-rey-lust-life

 

(Kieron is such a daddy   )
 
About LFL the song

Reid: “There were several different approaches with this album. Some songs were done in a day, with whoever was in the room. With others, like ‘Lust For Life’, it took a village to bring it back home. The original song was a long ballad with pads and vocals, and then Max’s crew rearranged it into more of a pop structure with beats, and then Lana wanted to do more of a ’50s doo‐wop style spoken‐word thing in the verses, so Kieron programmed a beat for that section with a more Motown sound, and we recorded her new spoken‐word vocals, plus the transition into the chorus, which sounds a lot more like Max’s demo. The song evolved piecemeal and quite naturally and ended up being quite complex.”
 
Nowels: “It was one of the first songs written for the album, and we completed the first version, and it was a beautiful piece of art. It’s one of my favourite songs. During the process of making the record Lana had a meeting with Max Martin and he said: ‘That verse could be a chorus!’ — ie. the ‘Take off your clothes’ part, which originally was a verse. There was a lot of energy in the room around making a hit single, so we rewrote it and made that the chorus of the song. In the end there were two versions of the song, with the new version ending up on the album.”

Menzies: “The first version was more ominous, but the spoken words and Motown/Phil Spector beat in the verses gave it more of a Shangri‐Las vibe and a walking‐in‐the‐sand feeling. It also added to the future‐retro thing that Lana is so fond of. Throughout the making of the album she kept talking about Blade Runner being an inspiration.”

Reid: “Once we had the verses, the song was pretty much up and running, and then one night Abel came in, and worked with Rick and Lana and Kieron, and they replaced a number of vocal lines. They also did a lot of ad‐libbing and sang the duet part. I then added some bass and guitar parts.”

 

 

About the album concept

 

 

Work on the new album began in 2015, immediately after the completion of Honeymoon, with a recording session for the title track at The Village Recorder in LA. “I don’t think there was a concept at the beginning,” recalls Nowels. “It is all a collection of songs. But she was in a certain head space. I remember at the very beginning of the Honeymoon record she said: ‘I want to make a jazz album.’ This turned into songs like ‘Honeymoon’ and ‘Terrence Loves You’. They’re maybe not technically classic jazz songs, but they are her versions. Since it had to be jazz, we could not have really strong, big beats, so the beats were chilled, and there was a lot of orchestra, and every song on that album was in a minor key. But I think almost every song on the new record is in a major key. That was not a conscious decision on our part however. Every artist wants to go into new territory, and not repeat him‐ or herself exactly. We knew for a long time that ‘Love’ would the opening track, and ‘Lust For Life’ would be track two, and the picture of the new album emerged as we got more songs.”

 

“Those two songs set the tone for the record,” Menzies adds, “and after that it was a direction that we kept in mind when we worked, and that influenced our choices of sounds and samples, and also the kind of plug‐in techniques that kept occurring in the songs. This all helped give consistency. Lana has ideas in her head, which she may or may not communicate, and we simply follow her lead."

 

 

 

About the writing process

 

 

Nowels adds: “There is a modus operandi. She will normally come in with something like a verse or a chorus, or both, recorded on her iPhone. At the very least she always has the title, and usually a melody. I then start playing some chords, and from there the song comes together pretty quickly. Sometimes she forms a melody that’s based on the chords, but in general I try to follow her as verbatim as possible. At times we get some unusual chord progressions or some unusual movement because she writes the songs in her head, a cappella. Although she normally brings in a start, we have written some songs from scratch in the studio.

 

“She writes the lyrics as our work on the songs progresses, and she always finishes them in the studio. Generally speaking the whole song is written very quickly, usually in 45 minutes, and she then wants to go into recording mode right away. We put up a click track, and I have to very quickly get some sort of definitive piano part together. The piano part, or the voicings if it is a pad, are critical, so the whole thing works as a keyboard/vocal song. While we record we usually wear headphones, and I play piano live and she sings live. So one of the great aspects of the records is that there is a performance aspect.

 

“Lana and I always write with just voice and piano or voice and guitar, so the songs are always very solid in their composition. Lana is a supreme melodist and lyricist, and her songs always have an emotional power to them. They also have a coolness and her own unique language, which makes them very modern. I think she’s writing future classic songs.

 

“I’ve always had the philosophy that you record the vocal when your love affair with the song is at its strongest, and this is right after you write it. With every new song you write, you think: ‘This is the best thing I have ever done in my life,’ and ‘This is the best song on the planet,’ and that means that it’s the best time to record it. She records maybe three or four takes; usually, take two or three is the one, and then that tends to be it. There’s very little vocal comping. We only go in and change things if there is a lyric change. And after she has laid down the lead vocal, she immediately goes in again to do the backing vocals. The backing vocals — the way she stacks her voice, the parts and counterpoints she sings — define a lot of her sound.

 

“As soon as we get the song written and the vocals recorded, we go into arranging mode. We can add grand musical parts as well as spooky, weird parts. I’m very specific that the main piano or guitar part is definitive, so the song will speak with one voice and one instrument. After I get an overview and the big picture sounding good with my playing, Kieron and Dean start contributing their parts."

 

 

 

There's a lot more technical details about how they engineer, record & mix the songs. 

[Off To The Races 2010 demo pls 19,335]

LEAK IT BITCHES I CANT

[SlowGinFizzzz 15,310]

I'm not sure to what extent this article was discussed but I found it a very interesting read    I'd LOVE to hear the original LFL version 

 

https://www.soundonsound.com/techniques/inside-track-lana-del-rey-lust-life

 

(Kieron is such a daddy   )

 

About LFL the song

 

 

Reid: “There were several different approaches with this album. Some songs were done in a day, with whoever was in the room. With others, like ‘Lust For Life’, it took a village to bring it back home. The original song was a long ballad with pads and vocals, and then Max’s crew rearranged it into more of a pop structure with beats, and then Lana wanted to do more of a ’50s doo‐wop style spoken‐word thing in the verses, so Kieron programmed a beat for that section with a more Motown sound, and we recorded her new spoken‐word vocals, plus the transition into the chorus, which sounds a lot more like Max’s demo. The song evolved piecemeal and quite naturally and ended up being quite complex.”

 

Nowels: “It was one of the first songs written for the album, and we completed the first version, and it was a beautiful piece of art. It’s one of my favourite songs. During the process of making the record Lana had a meeting with Max Martin and he said: ‘That verse could be a chorus!’ — ie. the ‘Take off your clothes’ part, which originally was a verse. There was a lot of energy in the room around making a hit single, so we rewrote it and made that the chorus of the song. In the end there were two versions of the song, with the new version ending up on the album.”

 

Menzies: “The first version was more ominous, but the spoken words and Motown/Phil Spector beat in the verses gave it more of a Shangri‐Las vibe and a walking‐in‐the‐sand feeling. It also added to the future‐retro thing that Lana is so fond of. Throughout the making of the album she kept talking about Blade Runner being an inspiration.”

 

Reid: “Once we had the verses, the song was pretty much up and running, and then one night Abel came in, and worked with Rick and Lana and Kieron, and they replaced a number of vocal lines. They also did a lot of ad‐libbing and sang the duet part. I then added some bass and guitar parts.”

 

 

 

About the album concept

 

 

Work on the new album began in 2015, immediately after the completion of Honeymoon, with a recording session for the title track at The Village Recorder in LA. “I don’t think there was a concept at the beginning,” recalls Nowels. “It is all a collection of songs. But she was in a certain head space. I remember at the very beginning of the Honeymoon record she said: ‘I want to make a jazz album.’ This turned into songs like ‘Honeymoon’ and ‘Terrence Loves You’. They’re maybe not technically classic jazz songs, but they are her versions. Since it had to be jazz, we could not have really strong, big beats, so the beats were chilled, and there was a lot of orchestra, and every song on that album was in a minor key. But I think almost every song on the new record is in a major key. That was not a conscious decision on our part however. Every artist wants to go into new territory, and not repeat him‐ or herself exactly. We knew for a long time that ‘Love’ would the opening track, and ‘Lust For Life’ would be track two, and the picture of the new album emerged as we got more songs.”

 

“Those two songs set the tone for the record,” Menzies adds, “and after that it was a direction that we kept in mind when we worked, and that influenced our choices of sounds and samples, and also the kind of plug‐in techniques that kept occurring in the songs. This all helped give consistency. Lana has ideas in her head, which she may or may not communicate, and we simply follow her lead."

 

 

 

About the writing process

 

 

Nowels adds: “There is a modus operandi. She will normally come in with something like a verse or a chorus, or both, recorded on her iPhone. At the very least she always has the title, and usually a melody. I then start playing some chords, and from there the song comes together pretty quickly. Sometimes she forms a melody that’s based on the chords, but in general I try to follow her as verbatim as possible. At times we get some unusual chord progressions or some unusual movement because she writes the songs in her head, a cappella. Although she normally brings in a start, we have written some songs from scratch in the studio.

 

“She writes the lyrics as our work on the songs progresses, and she always finishes them in the studio. Generally speaking the whole song is written very quickly, usually in 45 minutes, and she then wants to go into recording mode right away. We put up a click track, and I have to very quickly get some sort of definitive piano part together. The piano part, or the voicings if it is a pad, are critical, so the whole thing works as a keyboard/vocal song. While we record we usually wear headphones, and I play piano live and she sings live. So one of the great aspects of the records is that there is a performance aspect.

 

“Lana and I always write with just voice and piano or voice and guitar, so the songs are always very solid in their composition. Lana is a supreme melodist and lyricist, and her songs always have an emotional power to them. They also have a coolness and her own unique language, which makes them very modern. I think she’s writing future classic songs.

 

“I’ve always had the philosophy that you record the vocal when your love affair with the song is at its strongest, and this is right after you write it. With every new song you write, you think: ‘This is the best thing I have ever done in my life,’ and ‘This is the best song on the planet,’ and that means that it’s the best time to record it. She records maybe three or four takes; usually, take two or three is the one, and then that tends to be it. There’s very little vocal comping. We only go in and change things if there is a lyric change. And after she has laid down the lead vocal, she immediately goes in again to do the backing vocals. The backing vocals — the way she stacks her voice, the parts and counterpoints she sings — define a lot of her sound.

 

“As soon as we get the song written and the vocals recorded, we go into arranging mode. We can add grand musical parts as well as spooky, weird parts. I’m very specific that the main piano or guitar part is definitive, so the song will speak with one voice and one instrument. After I get an overview and the big picture sounding good with my playing, Kieron and Dean start contributing their parts."

 

 

 

There's a lot more technical details about how they engineer, record & mix the songs. 

Wow, that's interesting! Thanks for posting it! Now I'm even more curious to hear "version 1" of LFL. Also, the way he put it makes me think that there's definitely a version of it that doesn't have Abel on it. Somebody go leak it! 

 

About LFL the song

 

Nowels: “It was one of the first songs written for the album, and we completed the first version, and it was a beautiful piece of art. It’s one of my favourite songs. During the process of making the record Lana had a meeting with Max Martin and he said: ‘That verse could be a chorus!’ — ie. the ‘Take off your clothes’ part, which originally was a verse. There was a lot of energy in the room around making a hit single, so we rewrote it and made that the chorus of the song. 

Hit single.

[Beautiful Loser 46,290]

I'm not sure to what extent this article was discussed but I found it a very interesting read    I'd LOVE to hear the original LFL version 

 

https://www.soundonsound.com/techniques/inside-track-lana-del-rey-lust-life

 

(Kieron is such a daddy   )

 

About LFL the song

 

 

Reid: “There were several different approaches with this album. Some songs were done in a day, with whoever was in the room. With others, like ‘Lust For Life’, it took a village to bring it back home. The original song was a long ballad with pads and vocals, and then Max’s crew rearranged it into more of a pop structure with beats, and then Lana wanted to do more of a ’50s doo‐wop style spoken‐word thing in the verses, so Kieron programmed a beat for that section with a more Motown sound, and we recorded her new spoken‐word vocals, plus the transition into the chorus, which sounds a lot more like Max’s demo. The song evolved piecemeal and quite naturally and ended up being quite complex.”

 

Nowels: “It was one of the first songs written for the album, and we completed the first version, and it was a beautiful piece of art. It’s one of my favourite songs. During the process of making the record Lana had a meeting with Max Martin and he said: ‘That verse could be a chorus!’ — ie. the ‘Take off your clothes’ part, which originally was a verse. There was a lot of energy in the room around making a hit single, so we rewrote it and made that the chorus of the song. In the end there were two versions of the song, with the new version ending up on the album.”

Menzies: “The first version was more ominous, but the spoken words and Motown/Phil Spector beat in the verses gave it more of a Shangri‐Las vibe and a walking‐in‐the‐sand feeling. It also added to the future‐retro thing that Lana is so fond of. Throughout the making of the album she kept talking about Blade Runner being an inspiration.”

Reid: “Once we had the verses, the song was pretty much up and running, and then one night Abel came in, and worked with Rick and Lana and Kieron, and they replaced a number of vocal lines. They also did a lot of ad‐libbing and sang the duet part. I then added some bass and guitar parts.”

 

 

 

About the album concept

 

 

Work on the new album began in 2015, immediately after the completion of Honeymoon, with a recording session for the title track at The Village Recorder in LA. “I don’t think there was a concept at the beginning,” recalls Nowels. “It is all a collection of songs. But she was in a certain head space. I remember at the very beginning of the Honeymoon record she said: ‘I want to make a jazz album.’ This turned into songs like ‘Honeymoon’ and ‘Terrence Loves You’. They’re maybe not technically classic jazz songs, but they are her versions. Since it had to be jazz, we could not have really strong, big beats, so the beats were chilled, and there was a lot of orchestra, and every song on that album was in a minor key. But I think almost every song on the new record is in a major key. That was not a conscious decision on our part however. Every artist wants to go into new territory, and not repeat him‐ or herself exactly. We knew for a long time that ‘Love’ would the opening track, and ‘Lust For Life’ would be track two, and the picture of the new album emerged as we got more songs.”

 

“Those two songs set the tone for the record,” Menzies adds, “and after that it was a direction that we kept in mind when we worked, and that influenced our choices of sounds and samples, and also the kind of plug‐in techniques that kept occurring in the songs. This all helped give consistency. Lana has ideas in her head, which she may or may not communicate, and we simply follow her lead."

 

 

 

About the writing process

 

 

Nowels adds: “There is a modus operandi. She will normally come in with something like a verse or a chorus, or both, recorded on her iPhone. At the very least she always has the title, and usually a melody. I then start playing some chords, and from there the song comes together pretty quickly. Sometimes she forms a melody that’s based on the chords, but in general I try to follow her as verbatim as possible. At times we get some unusual chord progressions or some unusual movement because she writes the songs in her head, a cappella. Although she normally brings in a start, we have written some songs from scratch in the studio.

 

“She writes the lyrics as our work on the songs progresses, and she always finishes them in the studio. Generally speaking the whole song is written very quickly, usually in 45 minutes, and she then wants to go into recording mode right away. We put up a click track, and I have to very quickly get some sort of definitive piano part together. The piano part, or the voicings if it is a pad, are critical, so the whole thing works as a keyboard/vocal song. While we record we usually wear headphones, and I play piano live and she sings live. So one of the great aspects of the records is that there is a performance aspect.

 

 

“Lana and I always write with just voice and piano or voice and guitar, so the songs are always very solid in their composition. Lana is a supreme melodist and lyricist, and her songs always have an emotional power to them. They also have a coolness and her own unique language, which makes them very modern. I think she’s writing future classic songs.

 

“I’ve always had the philosophy that you record the vocal when your love affair with the song is at its strongest, and this is right after you write it. With every new song you write, you think: ‘This is the best thing I have ever done in my life,’ and ‘This is the best song on the planet,’ and that means that it’s the best time to record it. She records maybe three or four takes; usually, take two or three is the one, and then that tends to be it. There’s very little vocal comping. We only go in and change things if there is a lyric change. And after she has laid down the lead vocal, she immediately goes in again to do the backing vocals. The backing vocals — the way she stacks her voice, the parts and counterpoints she sings — define a lot of her sound.

 

“As soon as we get the song written and the vocals recorded, we go into arranging mode. We can add grand musical parts as well as spooky, weird parts. I’m very specific that the main piano or guitar part is definitive, so the song will speak with one voice and one instrument. After I get an overview and the big picture sounding good with my playing, Kieron and Dean start contributing their parts."

 

 

 

There's a lot more technical details about how they engineer, record & mix the songs.

 

VERY interesting to read! Thank you for sharing!

[Amadeus 11,293]

and then Lana wanted to do more of a ’50s doo‐wop style spoken‐word thing in the verses,

when the track went downhill

 

 

There was a lot of energy in the room around making a hit single, so we rewrote it and made that the chorus of the song. In the end there were two versions of the song, with the new version ending up on the album.

 

and you guys still keep denying that she tried to get a hit 

[Terrence Loves Me 71,806]

I wanna hear them Jazz tracks she made that sounded like Honeymoon and Terrence Loves You!

[wittycatchphrase 1,399]

Have to get back into the good sis... I'm so scared because I'm seeing her live for the first time in January and a few days ago I watched a performance of one of her Terminal 5 shows last month and it was... not good. Like, way worse than I was expecting. I have high standards for live performances and this is why I haven't seen her yet. I'm worried seeing her live will make me like her less.  

[Doll Harlow 12,350]

Have to get back into the good sis... I'm so scared because I'm seeing her live for the first time in January and a few days ago I watched a performance of one of her Terminal 5 shows last month and it was... not good. Like, way worse than I was expecting. I have high standards for live performances and this is why I haven't seen her yet. I'm worried seeing her live will make me like her less.  

 

I think she feels like she doesn't have to try as hard because her fans sing so loudly for her... I hope she gets over that and brings back louder vocals for the tour. And  I hope the fans aren't as audible in person as they are in the video recordings.

[Say Yes to Heaven 27,083]

I wanna hear them Jazz tracks she made that sounded like Honeymoon and Terrence Loves You!

Not what it said!

Reread:

I remember at the very beginning of the Honeymoon record she said: ‘I want to make a jazz album.’ This turned into songs like ‘Honeymoon’ and ‘Terrence Loves You’.

[American Bottom 16,237]

Can someone upload the full pdf article, or was that It?

[Amadeus 11,293]

Have to get back into the good sis... I'm so scared because I'm seeing her live for the first time in January and a few days ago I watched a performance of one of her Terminal 5 shows last month and it was... not good. Like, way worse than I was expecting. I have high standards for live performances and this is why I haven't seen her yet. I'm worried seeing her live will make me like her less.  

you shouldn't set your bar irrationally high but you don't need to set it low as well. her festival period is usually worse than her tours. i remember when everyone freaked out on the opening night of the paradise tour. she revamped the live versions, had a new intro, new paradise songs included etc. the same went for the endless summer tour, she added unreleased songs and had a new concept for the stage. the uv and hm festivals were kinda lackluster bc they just adapted a few new songs to the old set. they replaced palms for twigs and then they replaced the endless summer probs with curtains and a new del rey logo and called it quit lol.

even when the tour was off to a messy start (awful planning, awful prices, awful organisation in general) i kinda feel (hope?) that she makes smth out of this.

[Sugar Venom 9,651]

idk if anyone already mentioned this cause I don't have the attention span to check back a few pages, or even if we all collectively decided that fan from twitter/the pop up shop was lying already but! I can't stop thinking about what he said about Yosemite and an album/EP   so here's my thots on the whole thing:

• BTD was 16 songs (if u count the Video Games remix, but doesn't really matter regardless lol)
• Paradise was released like 10 months later with a totally different sound
• LFL is 16 songs, and in 6 months it'll be 10 months since it came out!
• Best American Bible and Yosemite (I'm assuming on this one) have a different general sound than LFL

just saying like if she's following the same pattern as the BTD release then maybe that guy wasn't lying. maybe she didn't totally scrap the og BAR/LFL/whatever concept she originally had, but felt like her idea for a political album was more urgent because of the current climate and wanted to put that out first so we could have it asap, after all the message was really for us to have! she wanted to put it out for us to hear because she cares about us. plus I think someone mentioned whatever she was shooting with Chuck by the sea earlier could be for this apparent EP, since Change is supposed to be the jumping off point for the next record and it has to do with the ocean (also The Ocean is the last song off Houses Of The Holy as mentioned in BAR  probably just a coincidence tho). also iirc she said she wanted to put out BAR and Yosemite as indie singles (maybe the fan said that? idk I have bad memory lol but whatever) so they could coincide with Ride and Blue Velvet or even Burning Desire, and we could get videos for them! I mean technically she already had a mv for BAR, soooooo I feel like I'm setting myself up for disappointment lol but what can u do ¯\_(ツ)_/¯ I had fun putting this together so idc

 

inb4 u gotta have fun in life and indulge in frivolous things sometimes so don't try to come at me cause I'm just enjoying myself here and I'm not asking anyone to take this seriously so try not to offend urself lmao

and last but not least, coachella is a very sweet song and doesn't deserve all the hate you guys give it