terrenceszyou

My fear is that I'll listen to the live versions of the new tracks so much that when they're officially released, they'll feel really strange to me. For example, the last song Lana released in concert before the studio version, if I'm not mistaken, was Cherry. She debuted this song in a performance in which she wore a red skirt. Everyone was obsessed with it because it was beautiful. However, this song particularly caught my attention live because, in Lana's performance on the day, it sounded more sad than sexy. Plus, the instrumental performance sounded more like Ultraviolence. Then, soon after she released the studio version with trap beats and loud drums that I didn't really like.

That's exactly what I love about this song and Blue Bird: they're both perfectly produced tracks, her vocals are clean, the backing sounds modified, there's no weirdness. The intro, the outro, the bridge, everything is well-aligned, the length of the song itself doesn't make it seem long or short, even its length is adequate. There are no audio leaks and the sound doesn't blow out or sound quiet in some parts. It sounds like a dream. Ever since NFR, there have been Lana tracks that I've loved a lot, but I found myself thinking to myself what improvements could be made to make the song sound perfect, and only here did it work. So, the guy is really joking.

I understand. I think people here shouldn't be so impatient and exaggerated and decide whether or not they loved a song that was released when the song itself demands a certain listening experience for you to fully enjoy it. I mean, we were euphoric about this release, excited. Speaking for myself, I listened to the song quickly to get to know it during a quick break when I left the family lunch and went to another room and the song didn't grab me. I thought it was bad. Flop. When I got home, already relaxed, on the couch and put it on to listen to it calmly, finally, it touched me. I think you should be patient with yourself, especially now that Lana is entering a new genre. If you hear one of the new songs and it doesn't please you right away, don't hate it right away, don't label it a flop. That will make you move away from it, when you probably would really like it at another time, when it really becomes meaningful to you.

The house was already on fire, I swear I'm not a liar

For some reason, this song really touched my mother. She liked Henry. But ever since Bluebird came out, she asked me to play it for her. Then she asked me for the link to the song. And so, from early afternoon onwards, she washed clothes, made coffee, cleaned the kitchen and worked on the computer until the evening, putting this song on repeat. Seriously, she wouldn't put on another one, just this one going on and on for hours. There's something about this song.

There are so many reasons to like this song. 1) Anyone who listens to Lana carefully will notice that there is something new here, it is a country solidified with her own style. She has already flirted with country, but here she seems 100% at ease and not at all caricatured. 2) It has what she promised: love songs, relational, not too heavy or too intimate, but not superficial. In short, pop. 3) It is a 5-minute pop song. This is wonderful, the song hooks you into its own atmosphere and, due to the construction of the song, there is no room for boredom while listening and, even so, it does not pass quickly. This is one of the facts that caught my attention the most. Lana has long songs that are easily noticed for their time, but this one does not seem to have the minutes that are there. 4) Replay factor. Because of this, the replay factor is huge. She ends the song with the outro, which is the same as the pre-chorus, so when she ends with "hey", there is that emptiness and a great need to hear the chorus or more of the song. That "hey" is like someone pulling the candy out of your mouth. The song is long, the experience is wonderful, you are satisfied with the experience, but still want to hear it again. I think this fact explains a lot of the streams. They were very accentuated. 5) The instrumentation was very interesting. I like it when Lana makes songs with strings. I highlight the instrumental after the choruses, the first one is different from the second one, but there is space for both, because the song doesn't mind being long. The first instrumental is beautiful and ethereal. The second one is a repetition of the melody of the pre-chorus, which already makes it sound nostalgic within the song itself. As far as I remember, Lana never had many instrumentals like that, which sounded without her singing on top. The instrumentals on Lana's albums are always incredible. I liked that she kept quiet and let them have their moment. If all of this is repeated considerably on the yet-to-be-titled album, it has everything to be her best album yet.

I didn't notice that, I was just observing how orange Lana's skin was because of some Instagram filter. However, this becomes a cool detail if the motivation for the lyrics of the song, in which she may refer to the Sun that man gets too close to.

I'm glad she found it interesting and took it as inspiration. I don't know if it was intentional, but I always remember Disney in the part of Sweet "What You Don't Really Understand...", it's like Disney's own vignette with the star flying over the castle.

The vibes that the album gives me so far are more like Ocean Blvd, but more somber. The last layer of Ocean Blvd with Taco Truck, Fishtail or Peppers could compose the "lively" tracks that the album will have, as usual. I hope she explores synthesizers and casual constructions, but I hope she surprises by giving them more body (with choruses, drums and bold instrumentation, like, at the very least, the sax in If You Lie Down). I don't know, but all the descriptions she has given so far make it seem like an album a bit like the Carpenters, ABBA at the beginning of their career and other bands of the time that were extremely melancholic, but still had a lyrical content that wasn't too heavy or personal (in other words, more pop). At this point, it would be very interesting, because the whole aesthetic of that time suits Lana a lot, much more than Gaga and Mars in Die With an Smile or Sabrina Carpenter in the visuals of Shortn Sweet. If she does that, however, and even so brings a new look that modernizes, it will be incredible. I know we shouldn't set our expectations too high, but Lana came out of nowhere in her career and invented a new genre. Since then, I wouldn't be surprised if that's what happens again now.

Fernanda Torres

By God, no! I hope not. All of their covers are beautiful because they have titles on the covers, the fonts are so well chosen and add an extra charm. NFR was the cover whose art required the least tags, but even though the title and name are abbreviated, they are there. I already regret that Taylor Swift abandoned the tags on the covers of her re-recordings... All of Taylor's re-recordings have tags inside the album booklet that are super charming and beautiful and she didn't put them on the cover out of sheer fashion, even though each one has an appropriate space for that.

Maybe it means the artists that are included in the album in collaborations, so the emojis represent not very obvious ways, through some hits or something characteristic of their careers. ?: ? ? : All Too Well (Taylor Swift) ?: Birds Of Feather (Billie Eilish) ? : Honeymoon (Own Lana)

That's not exciting at all. Considering that along with the nod to Roses Bloom For You, I wouldn't be surprised if we got another mixtape, which is what I consider Blue Banisters to be. People blame Jack, but I think Lana messes up when she wants to bring back old songs. I have many favorites, but I don't insist on any of them on new albums, especially if they need to be redesigned to do so.

My only expectation for all of Lana's albums is what she always achieves and makes so special: being able to channel them into a unique energy and make them so unique and different. I like the direction this one is going. That there is a hint of country, there will be. However, what excites me most is the fact that she has already considered that the lyrical content will be less personal or diaristic, with simpler, less dense stories. The title gives me Violet book vibes; Even though she talks a lot about her own life, there are still many reflections on life as a whole. Along with this, there is her confirmation that her melodies are intended to be more catchy. So, I foresee a very pop album. The vibes that the supposed cover gives me are from groups like ABBA (in the 70s) and The Carpenters, masters of reflective music, but pop and catchy, although with a lot of melancholy. If Lana goes in this sound and aesthetic direction, it will be one of her best albums for me. I will pray about this.