Taylor Swift - evermore

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dd not me just now clocking that the "clandestine meetings" version of folklore's cover literally looks like the last thing you see before Taylor buries you alive in the woods

I find myself enjoying the whole album, but I appreciate you sharing your thoughts @lungern. I was nodding in agreement for almost all of it until Happiness (I love it), Ivy (a favorite), & Cowboy Like Me (my top favorite on the album). That said, I totally get where you're coming from with Coney Island & Long Story Short. Again, I do like both songs, but Coney Island is a bit meandering for me, while Long Story Short feels somewhat out of place, maybe too poppy.

I was looking forward to reading your thoughts on Closure (another favorite), but I don't know if you forgot to include it or if that was shade ddddd. Either way, great post!
Very very well written review @lungern ! I agree with majority of it so much, you worded why these songs are special so well. I've definitely found I prefer this album to folklore and it might actually end up being my favorite album Taylor has made, but I totally get your thoughts on the songs you weren't crazy about. Those are probably lower in the ranking for me as well but I guess I still appreciate them. But yeah, really really well done write-up!
cowboy like me
tis the damn season

tolerate it
no body, no crime

champagne problems
gold rush

coney island
long story short
Closure is some of the rawest stuff she's done. It sounds and feels like she genuinely expunged emotion right into song, bypassing any painstaking mechanical songcraft processes in the middle. It's really quite striking. It's like being spoken to directly, in all the discomfort that entails.

YES! "I'm fine with my spite, and my tears and my beers and my candles" in particular is direct to the point of discomfort, cause it forces you to face the reality of the situation in these images that many people would just cringe at. There is such bravery in this type of vulnerability and writing about it. I don't feel like I can explain why it works so well in this particular track, cause I feel another artist on another song would just completely take me out of my fantasy, but Taylor just does it in the right way. Also "don't treat me like some situation that needs to be handled" is just so powerful.
'I can feel you smoothing me over' is a brilliant image. She doesn't want to engage with this ex or his letters or questions, and she knows that saying 'yes' to everything doesn't illustrate the real contempt and frustration she still has - it just allows him to tick a box and move on. To be smoothed over, to have all our rough parts removed and softened 'for ease'... and it of course brings to mind earth being flattened out over the ground, cement going on top. It's visceral.

The song feels like she's met this ex in the street, and he's asking if she got all this shit he sent, she has to nod and grit her teeth - knowing full well that it's all to give him closure. Whether or not she gets hers is clearly of no concern to him. I think the song suggests that it's much healthier for both parties to reach closure together, that it's mutually beneficial to do so, but so often, one party can turn into a self-serving exercise.

Even the sort of erratic production works I think. It feels like inner frustration.
Watching the Apple Music interview and it's a really good interview. A lot of interesting bits about her career, her own perceptions surrounding her writing. I feel like Lover will become a weird one in her discography in the future. It felt like she was still caught up with trying break a new record commercially, a lot had to do with her public image, still dealing with the demons from reputation, and the album being all over the place both sonically and lyrically (the concept being quite all over the place too). The part in the interview about her feeling prior to folklore that every tracklist should have at least one song for the stadium show, one for the radio, one for the fans and so on....that felt like Lover. That album doesn't really know what it wants, it's messy and juvenile, while also containing a few very personal and unique gems in her discography. And quite frankly it's a confusing listen when you think that she was almost 30 at the time of its release.

Having watched her this year has been truly exciting, and hopefully the fantastic (and deserved) reception can give her the confidence to keep challenging herself and her art. She has accomplished so much in her career I don't think she really needs to prove herself more commercially.
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