album Lana Del Rey - 'Did you know that there's a tunnel under Ocean Blvd'

[RomanNavy]

6 hours ago, VeniceBeach said:

80/100 FROM NME IT'S OVER

 @ontherocks @State of Grace. @NOW @Mariah's Glove & others 

The gays’ 9/11 I cannot believe it

[popmusicisdead]

10 minutes ago, Chemist said:

‘Margaret’ - a late album highlight that nods to Springsteen, Sufjan and even Dolly Parton throughout its run time

 

DIY SPILLED

 

OM(s)H really thought 

[Chemist]

The Line of Best Fit review extracts(7/10)

 

• Despite the range of Lana’s catalogue as it grows, these sixteen songs are easily among her most complicated, emotionally; pensive and optimistic, often at the same time. ..Even with such searching material, her pen remains amongst the sharpest working today.
• Sonically, this is another album which sounds designed to sit on a shelf with the classics. “Sweet” plays like vintage Carole King, while “Paris, Texas” enters fresh territory; a twinkling and playful piano pulling in the direction of Vashti Bunyan and other legends of the English folk-revival. “Let The Light In,” the best of her numerous collaborations with Father John Misty, is a total gem; a straight-down-the-line Jackson Browne-rocker, the kind which would have been a hit on FM radio in ‘73. In fact, the three-song stretch from “Grandfather Please Stand On The Shoulders…” to “Margaret” stakes a claim as among the very best from her nine albums to date.
• However, in equal measure, Del Rey’s singular mindset can result in indulgences which threaten to derail the whole album entirely. On a 77 minute record, do we really need two interludes (one being a four-minute sermon from a megachurch pastor) and a remix of “Venice *****,” far inferior to the original? “Margaret” is a perfect album closer, but it’s not this one’s. Instead, the record staggers on into “Fishtail,” a dull trap ballad, and hits a dead-end with “Peppers,” an excursion into rap which is an absolute mess; so incoherent that it's excruciating.

[nasa]

2 minutes ago, Chemist said:

On a 77 minute record, do we really need two interludes (one being a four-minute sermon from a megachurch pastor) and a remix of “Venice *****,” far inferior to the original? “Margaret” is a perfect album closer, but it’s not this one’s. Instead, the record staggers on into “Fishtail,” a dull trap ballad, and hits a dead-end with “Peppers,” an excursion into rap which is an absolute mess; so incoherent that it's excruciating.

They spilled I’m sorry 

[truthteller]

1 hour ago, suburbannature said:

It’s a 4/5 y’all are wild.

 

what’s the snippet she posted?

Not when they gave Solar Power a 5/5 

[ontherocks]

3 minutes ago, truthteller said:

Not when they gave Solar Power a 5/5 

One review, girl. 

[Ice Cream Skies]

Peppers is Top 3 on the album, idgaf what that flop site says

[stjosephprey4us]

Well it’s over

[stjosephprey4us]

BZ was right about the interludes dragging down the score, but wrong about Margaret being hated by the critics 

 

I genuinely wonder what on Earth caused her to want to include the interludes (especially the pastor one). Self sabotage, mefears? 

[ElleDriver]

21 minutes ago, Chemist said:

The Line of Best Fit review extracts(7/10)

 

• Despite the range of Lana’s catalogue as it grows, these sixteen songs are easily among her most complicated, emotionally; pensive and optimistic, often at the same time. ..Even with such searching material, her pen remains amongst the sharpest working today.
• Sonically, this is another album which sounds designed to sit on a shelf with the classics. “Sweet” plays like vintage Carole King, while “Paris, Texas” enters fresh territory; a twinkling and playful piano pulling in the direction of Vashti Bunyan and other legends of the English folk-revival. “Let The Light In,” the best of her numerous collaborations with Father John Misty, is a total gem; a straight-down-the-line Jackson Browne-rocker, the kind which would have been a hit on FM radio in ‘73. In fact, the three-song stretch from “Grandfather Please Stand On The Shoulders…” to “Margaret” stakes a claim as among the very best from her nine albums to date.
• However, in equal measure, Del Rey’s singular mindset can result in indulgences which threaten to derail the whole album entirely. On a 77 minute record, do we really need two interludes (one being a four-minute sermon from a megachurch pastor) and a remix of “Venice *****,” far inferior to the original? “Margaret” is a perfect album closer, but it’s not this one’s. Instead, the record staggers on into “Fishtail,” a dull trap ballad, and hits a dead-end with “Peppers,” an excursion into rap which is an absolute mess; so incoherent that it's excruciating.

 bad take after take. Music journalism has never been worse 

[ElleDriver]

Theres nothing wrong w the interludes. They exist to serve the narrative of the album and they are awesome tbh. I have not seen a single valid criticism of the album so far 

[Chemist]

 on ‘Margaret’, which is the album’s peak and easily one of Del Rey’s greatest ever and most affecting songs.

 

- Rolling Stone

 

More acclaim for MargaGOD

 

[paradisedarkness]

How amazing it is that my list from best to worst is still changing 

 

14. Fingertips 

13. Sweet 

12. Did You Know

 

So the title track isnt that bad

 

 

[Unoriginal]

you guys are exhausting for a thread that complains about LB so much it's interesting to see you all doing the things you drag them for 

[Orsay]

Why are critics reviewing an album before its even been officially released? Unprofessional

[State of Grace.]

7 hours ago, VeniceBeach said:

80/100 FROM NME IT'S OVER

 @ontherocks @State of Grace. @NOW @Mariah's Glove & others 

Her Solar Power 

[Ice Cream Skies]

4/5 from The Independent

[GentleDance]

when sputnik gives her another 30 

 

 

[ontherocks]

8 minutes ago, Ice Cream Skies said:

4/5 from The Independent

[nasa]

“Fishtail” and “Peppers” – which features a sampled hook from a live performance by Canadian rapper Tommy Genesis – are similar treats. The latter track is a swaggering rap mashed-up into psych-rock. If only Del Rey’s voice wasn’t completely drowning in reverb.

 

 peppers dragging the score down, I knew it I knew it

[Prince Tommy]

The meltdowns

 

This album song quality wise is for me her best or second best easily, but I'd agree with criticisms of Peppers/Fishtail being at the end is a weird choice sonically. (Taco Truck/VB is a bop idc)

 

The Interludes make sense for the album thematically, and are well scored, especially the Judah one (hate to admit but its true) - But I can also see why your average reviewer/listener would not care to think of them very critically - its all about the effort you want to give to it I guess. I expected to really hate them based on early comments, and I wouldn't listen to them regularly, but I at least got why they're there (still need Candy Necklace for the Batiste one) on my first listen.

 

That being said re: LOBF review, I feel like a 7/10 for some missteps is kind of a reach compared to an 8/10 for a just above average album that's consistent but oh well! Just numbers. 

 

Lana including Fishtail/Peppers/Taco x VB on an album that also has her most intimate moments in her discog and amazing production? She'd probably say she needed some light, some fun to balance things from being too heavy and that she wasn't concerned with making everything perfect like on NFR. We're winning regardless

Edited March 20, 2023 by Prince Tommy

[nasa]

Album highlight, “Margaret” is a pure paean to the latter. 

 

 

and they didn't say anything about Grandfather, Paris Texas or Kintsugi 

[RideOrDie]

8 hours ago, Mariah's Glove said:

Well

 

they thought wrong!

 

that @RideOrDie curse is looking real once again!

 

it's over

 

[Tyrion_LMG]

Margaret being acclaimed. You lost.

 

I hope she manages to snatch some 90s and a couple of 100s. The reviews are being so BB kind of.

[BlackAura]

Margod saving the album, tasteless fomos LOST.