nightshade
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Post by nightshade on Sept 9, 2015 11:59:10 GMT -5
So glad we got Music to Watch Boys to. It's easily my favorite from what has been released so far.
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moore746
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Post by moore746 on Sept 9, 2015 13:18:55 GMT -5
Oh my god this song. I'm hearing song signature Born To Die Emile Haynie production (also, I love the This Is What Makes Us Girls reference), some Paradise Cola-esque sexiness, and some Ultraviolence co-dependence.
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cufan7
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Post by cufan7 on Sept 9, 2015 17:48:00 GMT -5
Loving "Music To Watch Boys To" and "Freak" sounds amazing as well!
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vipanonymous
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Post by vipanonymous on Sept 9, 2015 18:35:21 GMT -5
Music To Watch Boys To goes to iTunes tomorrow 11pm EST.
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Post by Glove Slap on Sept 9, 2015 19:40:01 GMT -5
Music To Watch Boys to is absolutely sublime. It's the perfect step from Ultraviolence to the lighter sound for this.
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vipanonymous
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Post by vipanonymous on Sept 10, 2015 22:08:23 GMT -5
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nightshade
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Post by nightshade on Sept 11, 2015 0:12:32 GMT -5
we already know Music to Watch Boys to slays but in HQ it obliterates everything released from Honeymoon so far.
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kmbgs
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Post by kmbgs on Sept 11, 2015 10:57:24 GMT -5
Oh my god this song. I'm hearing song signature Born To Die Emile Haynie production (also, I love the This Is What Makes Us Girls reference), some Paradise Cola-esque sexiness, and some Ultraviolence co-dependence. English is my native language and I actually have no idea what this sentence means
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moore746
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Post by moore746 on Sept 11, 2015 12:54:30 GMT -5
Oh my god this song. I'm hearing song signature Born To Die Emile Haynie production (also, I love the This Is What Makes Us Girls reference), some Paradise Cola-esque sexiness, and some Ultraviolence co-dependence. English is my native language and I actually have no idea what this sentence means Cool. Then try to read it more slowly. For those who struggle with reading, sometimes it helps to find a quiet room.
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Deleted
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Post by Deleted on Sept 11, 2015 16:03:21 GMT -5
I Love MTWBT but it's my second fave out of the five songs
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popbox
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Post by popbox on Sept 15, 2015 2:23:13 GMT -5
MTWBT is flawless. The first song we've heard so far from this album that truly sounds like a "classic" Lana song.
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moore746
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Post by moore746 on Sept 15, 2015 12:23:21 GMT -5
The existential genius of Lana Del Rey: Performing yearning self-destruction as meaningful as Don Draper’s — and just as uniquely AmericanSalon.com In the 1920s Lev Kuleshov edited several films, which alternated between the image of a blank-faced man and the image of an object he was supposedly responding to. Viewers interpreted the emotion on the man to be strikingly different depending on what the scene cut to; viewers assumed the cut to the bowl of soup showed the man was hungry, while the effect of seeing the deadpan man juxtaposed with an image of a beautiful woman implied lust. While viewers attributed the emotional impact of these scenes to the acting of the man in the photo, the effect came from the alternating images themselves. When we see powerful images, we are simultaneously projecting meaning onto that succession of images in order to construct a narrative. Lana Del Rey, whose third studio album, “Honeymoon” comes out Sept. 18, is a master of The Kuleshov effect. Her early music videos were edited as a series of montages of old video footage paired with images of herself, often dressed up and looking alternately sad, wistful, joyful and longing. In “Video Games,” which propelled her to stardom, we see the iconography that Del Rey is fascinated with—rows of palm trees, American flags, kids playing games, clips of beautiful women, the open road. In later videos we see Del Rey investigating these same images—in “Ride” she plays a beautiful woman searching for meaning in a “Buttweiser” T-Shirt wrapped in an American flag. In “Blue Jeans” she exudes Hollywood glamour with her perfectly coifed hair and white bathing suit, as she looks longingly at beautiful man in a swimming pool who turns into a crocodile. In “Born to Die” we see jean cutoffs, red sneakers, tattoos, drugs and violence paired with images of refinement and royalty—long dresses, tigers, expansive beautiful rooms. In her more recent “High by the Beach,” we see Del Rey in silk pajamas wander around a giant, empty beach house, and take out a paparazzi helicopter with a gigantic machine gun. Del Rey is obsessed with ironic representations of American nostalgia. In the world of Del Rey our desires are dangerous and the images of classic Americana are meant to inspire disgust as much as longing. In the worlds of “Born to Die” and “Ultraviolence,” beauty is brutal and America is filled with dangerous, deceptive dreams. Del Rey plays a host of female characters—she is an ingénue and femme fatale, girl next door and glamorous beauty queen. She is always addicted to loving that which is just out of reach. The world of Del Rey is complicated, joyful, dirty, glamorous and sad. It’s also darkly humorous, from the polarizing—“My pussy tastes like Pepsi Cola”—to the playful (“Yeah, my boyfriend’s pretty cool. But he’s not as cool as me”). In a less sexist world, Del Rey would be compared to an artist like David Lynch, who is similarly interested in all manner of human perversions. Or her persona would be seen as similar to the trajectory of Don Draper—empty, longing, obsessed with sex, and seeking redemption. In our world, Lana Del Rey’s music may be lauded, but she is still presented as merely pretty and sad, the kind of artist who doesn’t give good-girl answers when asked the question du jour about feminism and what it means to her. In a 2014 interview with Fader she balked at the question: “For me, the issue of feminism is just not an interesting concept,” Lana started off when asked about her opinion on the matter. “I’m more interested in, you know, SpaceX and Tesla, what’s going to happen with our intergalactic possibilities. Whenever people bring up feminism, I’m like, god. I’m just not really that interested.” As someone for whom feminism is deeply important, I actually found Del Rey’s answer to the question to be refreshing. Why do we insist on asking female artists for their stock answer to this question? Why don’t we ask them about space? The future? Robotics? The question of whether or not a female artist identifies as a feminist has supplanted other far more complex and interesting questions we could be asking female artists today. Moreover, much of hostility that some leveraged against Lana Del Rey for giving a flippant answer was overtly sexist. In her memoir “Girl In a Band,” Sonic Youth’s Kim Gordon said of Del Rey: advertisement “Today we have someone like Lana Del Rey, who doesn’t even know what feminism is, who believes women can do whatever they want, which, in her world, tilts toward self-destruction, whether it’s sleeping with gross old men or a transient biker queen. Equal pay and equal rights would be nice. Naturally, it’s just a persona.” Likewise, Ms. Magazine panned Del Rey’s passivity, “Del Rey not only perpetuates her helpless, damsel-in-distress image, but verbally promotes violence against women. If we as a society accept the disempowered form of femininity that Del Rey embodies, young women are truly in trouble.” If male self-destruction is seen as opening up meaningful questions about great existential truths—Don’s alcohol binges in “Mad Men,” Walter White’s coming to terms with his own mortality in “Breaking Bad,” female self-destruction is still perceived as self-indulgent. The female depressive is seen as self-involved and attention seeking, empty-headed and silly. Seeking meaning in sex and drugs is seen as morally weighty when a man does it, but when a women grapples with nihilism, it’s still perceived as merely acting out for male attention. Indeed, Del Rey’s use of iconography, including her own image, is generally flattened and reduced to the façade, which is why so many people were quick to see Taylor Swift’s video for “Wildest Dreams” as Lana Del Rey-esque. But while Swift’s video features many of the accoutrements of a Del Rey enterprise—a fixation on handsome men, an old Hollywood nostalgia, a penchant for dark curls and red lips—it lacks the substance of Del Rey’s body of work, which offers a more nuanced and complicated look at human longing and desire. advertisement Del Rey recently clarified her thoughts on feminism when speaking with James Franco, explaining that, “The luxury we have as a younger generation is being able to figure out where we want to go from here, which is why I’ve said things like, ‘I don’t focus on feminism, I focus on the future.” I hope that in the future we get to spend more time focusing on Del Rey’s interest in SpaceX, her background in philosophy, and her love of literature, more so than the broad, general sound-bite questions about feminism that female artists are now required to answer, in addition to questions about what dresses they are wearing and what shade of lipstick they prefer. While it has been amazing to see a tremendous talent like Beyoncé champion the feminist label, it’s unfair to suggest that all female artists should be concerned with standing in front of giant glowing feminist signs. As an artist Del Rey is invested in big existential questions that men have grappled with for centuries—seeking meaning through sex and drugs and art and poetry and the open road. The tendency to underestimate Del Rey, to assume she’s not aware of her provocative, uncomfortable, sometimes violent imagery, tells us something important about our own assumptions about what beautiful women are supposed to feel and think. It shows how in 2015 the Kuleshov effect still renders the blank-faced beautiful woman as object, rather than agent, even when she is the one constructing that image for herself.
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Active Aggressive
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Post by Active Aggressive on Sept 15, 2015 12:59:54 GMT -5
I can't believe this is out in 3 days and hasn't leaked yet. Brava, Lana and team! So excited to hear it in full!
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Juan Carlos
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Post by Juan Carlos on Sept 15, 2015 14:06:33 GMT -5
"Salvatore" was premiered today as the Hottest Record on Huw Stephen's BBC Radio 1 show (in replacement of Annie Mac). You could listen to it here.
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Deleted
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Post by Deleted on Sept 15, 2015 19:18:51 GMT -5
Leaked
It's been out in LQ for a while though after the Urban Outfitters listening party
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switch
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Post by switch on Sept 15, 2015 22:12:20 GMT -5
"Salvatore" was premiered today as the Hottest Record on Huw Stephen's BBC Radio 1 show (in replacement of Annie Mac). You could listen to it here. What kind of Kill Bill perfection...
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Glove Slap
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Post by Glove Slap on Sept 16, 2015 1:19:18 GMT -5
On first listen, I'm blown away and actually quite surprised. Not that any of the previewed tracks were bad, but all the relatively weakest were among them. Art Deco through Swan Song is...stratospheric. Just masterpiece after masterpiece. All most likely among her very best. I look forward to dissecting them with repeated listens. The Nina Simone cover is good too, if not entirely necessary.
The album definitely moves away from the density of Ultraviolence and is easier to take in, but there is still a lot presented musically. There's quite a bit of unexpected twists and turns.
One thing I want to be clear on is that she truly carries this album and makes material that would have fallen apart in less skilled hands. She is an incredible singer and master of her craft, just when you think she may have run out of room, she breaks through even further. The small section from 4:20-4:25 on Religion, when she takes just a little longer to say the word "space" than in the earlier verses, just that tiny tiny bit longer, that is...that is something special. She is such an incredible artist to follow.
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seaguy27
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Post by seaguy27 on Sept 16, 2015 2:07:40 GMT -5
On first listen, I'm blown away and actually quite surprised. Not that any of the previewed tracks were bad, all the relatively weakest were among them. Art Deco through Swan Song is...stratospheric. All most likely among her very best. I look forward to dissecting them with repeated listens. The Nina Simone cover is good too, if not entirely necessary. The album definitely moves away from the density of Ultraviolence and is easier to take in, but there is still a lot presented musically. There's quite a bit of unexpected twists and turns. One thing I want to be clear on is that she truly carries this album and makes material that would have fallen apart in less skilled hands. She is an incredible singer and master of her craft, just when you think she may have run out of room, she breaks through even further. The small section from 4:20-4:25 on Religion, when she takes just a littler longer to say the word "space" than in the earlier verses, just that tiny tiny bit longer, that is...that is something special. She is such an incredible artist to follow. I agree with much of what you said....I love Freak as well!
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Post by Active Aggressive on Sept 16, 2015 9:47:30 GMT -5
I am legit geeking out now in anticipation to be floated and transported to the heavens on Friday. I have a coworker coming over and we are going to eat some space cake, have some drinks and listen to music so it's gonna have to turn into a Lana listening party.
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Dreams
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Post by Dreams on Sept 16, 2015 10:38:05 GMT -5
The production on this album is excellent. I think of all her albums this captures Lana's signature rich, mysterious, dramatic style the best way while still introducing new elements to it.
I really enjoyed the majority of the album, but it will take more listens to pick out favorites. However, the absolute highlight for me on first listen is "Art Deco". That song is sensational.
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Active Aggressive
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Post by Active Aggressive on Sept 16, 2015 11:08:04 GMT -5
Did she bring back some of the beats from BTD on this album? That is still my favorite of hers (and one of my all-time favorite albums, actually!) I think HBTB had a swag to it but I crave more.
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Deleted
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Post by Deleted on Sept 16, 2015 11:59:22 GMT -5
Did she bring back some of the beats from BTD on this album? 'High By The Beach' is as uptempo as it gets, apparently. I haven't listened to the leak myself (I'm waiting for it in 320kbps), but I'm told it's very different from both Born To Die and Ultraviolence.
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Active Aggressive
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Post by Active Aggressive on Sept 16, 2015 12:37:08 GMT -5
Cool. I don't mind different. I'm pretty much sold on the LDR aesthetic at this point. She hasn't really steered me wrong thus far so I trust she won't this time. I love Chicken Cacciatore Salvatore and HBTB thus far.
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moore746
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Post by moore746 on Sept 16, 2015 12:48:50 GMT -5
Did she bring back some of the beats from BTD on this album? That is still my favorite of hers (and one of my all-time favorite albums, actually!) I think HBTB had a swag to it but I crave more. Art Deco and Music To Watch Boys To feel like BTD/Paradise throwbacks in lyrical content and production. The album as a whole, however, is very different than either BTD, Paradise, or Ultraviolence. Things turn epic-in-nature toward the end of the album (and I mean epic in the sense of the epic genre--in this case, both soundscape and lyrical content).
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Glove Slap
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Post by Glove Slap on Sept 16, 2015 14:50:09 GMT -5
HBTB is the fastest it gets. A bit of the beats from BTD are back, but they're subdued. I really recommend listening w Headphones, because some of the stuff in the mix might be tough to pick up otherwise.
'Epic' is a proper word I suppose. The second half is kinda a departure off of the BTD/Paradise sounds, but it's definitely "outward" thinking in songwriting and production than those records.
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Colton
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Post by Colton on Sept 16, 2015 17:17:47 GMT -5
I don't like this album, and it saddens me because i stan for Lana
There are no stand out tracks for me.
Ultraviolence is way better than this.
:/
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Keelzit
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Post by Keelzit on Sept 16, 2015 21:13:05 GMT -5
Just finished my first full listen to the album and, as expected, I'm too overwhelmed to describe my feelings in a proper way. To approximately no one's surprise, this is yet another masterpiece but in a total different way than her previous releases. I would not say that it is an evolution of her sound but rather a revolution as it is mostly a happy record without lacking any of the elements that made me fall in love with her in the first place. No other album of hers had my mood changing with each passing track or even during the same song. Like, just when I thought I couldn't get more nostalgic during Salvatore, I burst out a hysterical laugh when I heard 'now it's time to eat soft ice cream' and had to press pause to get my shit back together. Right now, I'd say my favorite tracks are High By The Beach, Music To Watch Boys To, Salvatore and Religion and there's a big chance for this to become my favorite album of hers as it sinks in with repeated listens.
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vipanonymous
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Post by vipanonymous on Sept 17, 2015 9:28:04 GMT -5
I think after the 14 punch she served with Ultraviolence, this is like a massage. Anyway i'll give my opinion when iTunes version is released. I don't think that this leaked version is HQ, God Knows I Tried sounds like it was a junction of two songs. Anyway, i love the DLBM cover and I also think that God Knows I Tried sounds like a song Nina would recorded, removing that fame line. I can't believe she's already talking about the next record. She said she will work with more producers on the upcoming album. Probably End 2016. B**ch doesn't catch a break.
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Deleted
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Post by Deleted on Sept 17, 2015 19:30:57 GMT -5
...bye she seriously interpolated Little Peggy March in 'The Blackest Day'. I love it.
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vipanonymous
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Post by vipanonymous on Sept 17, 2015 20:52:40 GMT -5
It's out on iTunes on some countries like: Brazil, NZ, Australia... Anyway my little irrelevant reviewHoneymoon - So haunting.A Beautiful Song, the chorus sounds like she's invoking something 9,5/10Music To Watch Boys To - The "I Like You A Lot" is so infectious. I like it 9/10Terrence Loves You - I love this song, it's amazing that's there is barely no instrumental but it has so much passion and emotion on it 10/10God Knows I Tried - It's cleary about the backlash she got with the BTD era and the SNL performance. But it sounds like something Nina Simone would record replacing the fame for something else. 8,5/10High By The Beach - It was the best choice for first single. 9/10Freak - It needs to be a single at some point, or at least give it an iPhone video. Paradise-ish 10/10Art Deco - Not what I was expecting. It's a cute song, i like the verses and the bridge. 8/10Burnt Norton - Beautiful 8/10Religion - I love the chorus, i love the verses, it's a beautiful well written song. 8,5/10Salvatore - THIS HAS TO BE A SINGLE. It's like Americano's Lady Gaga had a little baby with Paradise's American.I can see a video, in the old Italia, her with sunglasses on, clearly about Franccesco. Standout 10/10The Blackest Day - It doesn't feel like a 6 minutes songs. I wish she slow sang the first chorus line at the end, it would be perfect it ended with a faded voice singing "It's been the blackest day" 10/1024 - Amazing. I wasn't expecting anything from the title. 9/10Swan Song - I don't know why but this reminds me of Once Upon A Time, ABC should pick it up for the 5 season Emma's title. 9/10Don't Let Me Be Misunderstood - A good cover, i don't get all the hate , she changed nothing from Nina's version. But TWO >>>> 9/10I felt like after the straight 16 face-punch we got with Ultraviolence, Honeymoon sounds like a massage, like she says in Salvatore, an Soft Ice cream. It's not instrumental heavy like UV, but i has so many beautiful written songs. People should stop waiting for a Born To Die, if anything, that was the era that she didn't sound as free as she is now. UV still my favourite album by her, but Honeymoon it's a step in the right direction, it has so many genres mixed. And you can feel she really gives emotion while singing on this album.
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