Tiger La Flor – HOLLYWOODLAND

Today, Japanese-Korean-American indie pop artist Tiger La Flor releases her highly-anticipated EP, Hollywoodland, out now via Arista Records.

Along with the EP, she shares the title track “HOLLYWOODLAND,” a cinematic pop record blending Bee Gees-inspired harmonies, Dolly Parton-style vocal charm, Chris Isaak-esque western guitars, and lush vintage orchestration. Framed as advice passed between two women across a bar, the song captures the glamour, illusion, humor, and heartbreak of dating in Los Angeles—and the larger world of the EP.

For La Flor, HOLLYWOODLAND EP was the answer to a question she had upon moving back to L.A. from Paris: What did she find romantic about the city? Certainly not being stuck in traffic. “But when I thought about it through the lens of, ‘What if I was living in L.A. when Once Upon a Time in Hollywood took place?’ that was romantic to me,” La Flor says. To her, that looks like racing down Highway 1 in a top-down convertible at sundown, singing along to blaring ’60s and ’70s records in a pair of oversized vintage sunglasses and snakeskin cowboy boots. She dove deep, building chronological playlists from the era, researching the fashion trends, and shooting visuals on 16mm film.

HOLLYWOODLAND EP drapes that world in La Flor’s “Laurel Canyon Western” sound, meshing the shimmering chords of ABBA with the rugged California cool of Chris Isaak, or in her words, “like if David Lynch and Quentin Tarantino made country.” Recorded with live orchestral elements and drums cut to tape, it’s the most maximalist music she’s ever made.

In her own words, Tiger describes, “HOLLYWOODLAND is more than an EP to me, it is a nostalgic golden era of Los Angeles I never lived; part fiction, part truth. I’ve always believed life ought to be lived cinematically, so I wanted to make a record that feels like the soundtrack to a lost film, a 1974 studio picture one might imagine Quentin Tarantino and David Lynch directing together. HOLLYWOODLAND is the setting: a glossy, slightly cursed Los Angeles, where a glamorous variety-show star sings her way through her unraveling. She is a character, certainly, though like most characters she has borrowed heavily from her author. I wrote this EP as my own life in Los Angeles was unraveling in many ways, so beneath all the glamour there is real heartbreak, yearning, and the peculiar melancholy of chasing dreams in a city that sells them.”

The EP opens with “KODACHROMATIC,” which sets the scene in a rose-tinted haze as La Flor sings of a relationship built to last. Atop the sun-baked guitars of the title track, “HOLLYWOODLAND,” she laments the difficulty of the L.A. dating scene. On “BAD COMPANY,” she’s the one waving the red flag, “I know I seem sweet but honey, I’m no honeybee,” while “IN COLD BLOOD” confronts a man she just can’t quit. The credits roll with “FOREVERMORE,” a delightfully unexpected mash-up of Motown’s Supremes and mariachi horns, when the relationship is over but no one wants to admit it.

“KODACHROMATIC” has also taken on a life of its own online, soundtracking a wave of viral posts showcasing La Flor’s parents’ love story that have racked up over 37M views across social media. La Flor will bring the Hollywoodland era to the stage with her debut LA show at Permanent Records on September 18th, and has a holiday music project on the way later this year.

HOLLYWOODLAND is what happens when the Old Hollywood obsession of her 2024 EP see me in hell converges with the outlaw Western feel of 2025’s Drugstore Cowgirl. La Flor’s music has also garnered editorial support from Spotify, who chose her as a cover girl on the “Indie Pop” and “JASMINE” playlists, as well as Amazon Music, who included her on a Times Square Billboard representing the Asian American Girl Club playlist. As it turns out, her restlessness serves a greater purpose: fueling the resilience and creative spark she brings to making the art she wants to see in the world, whether that’s bygone beauty reimagined for a new generation, or a reflection of herself, as an Asian woman, in the art she grew up loving.

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