Discussion in 'Pop & Justice' started by Music Is Life, Feb 3, 2019.
No Max Martin no hits
Was just looking for him on the credits so I could listen first... it’s kinda nice she’s going a different route and the last 2 albums blended together too much for me
Ali Payami was the responsible for the loud production of Ready for it.
But at the same time Delicate saved the era , and that was a Max song , so...
I think she knew reputation was going to be a very polarizing era, she asked them to get risky.
It feels very disjointed, but once I’ve cut out all the shit I think it’ll be perfectly fine. Cruel Summer and Death By A Thousand Cuts are obviously the stand outs.
It isn't love, it isn't hate, it's indifference.
Upon second listen, I actually love it more than on the first listen on that shitty 64kbps leak.
Taylor is my childhood popstar (sue me), and a lot of her music has been with me through some of the best and some of the worst, so I always hold her in my heart close even if I'm aware how flawed a lot of her career is. I fell in love with her during Fearless, especially with You Belong With Me and how I could relate to it as a closeted gay man growing up. Since then, she's pretty much had me as one of her fans and I look forward to every Taylor album. But with this album, there was something different. I think it's that I'm getting older and Taylor still caters to the younger fanbase that came along when 1989 was released; and she clearly was aiming the material at them with the singles and with these deluxe editions with journals. So I came into this album with mid-low expectations, I know Miss Swift has some questionable taste when it comes to singles, and surely there must be at least one better song than ME!.
To much of my relief as I really didn't want to see one of my faves getting dragged, the album actually delivers. There really isn't anything horrible on here like ME! or You Need To Calm Down, I think the closest thing is probably London Boy because those lyrics aren't it. A lot of this is definitely Taylor retreading what works, and it hasn't gotten stale for me yet, but I sincerely hope that she doesn't keep this exact same sound for the next album because I can see it becoming a problem. Cruel Summer's bridge is literally Getaway Car's, down to the production and melody. Daylight is Clean. Afterglow is Wildest Dream 2.0. as others have pointed out. Out of the new songs that feel like she tried something new, False God is definitely that bitch, the saxophone is everything. Soon You'll Get Better annihilated me, one of Taylor's best vocal deliveries, you can feel the emotion behind the song. This is what made me fall in love with her music, the vulnerable emotion behind a lot of her tracks, for example White Horse, All Too Well, Enchanted, Never Grow Up, Treacherous... This is where Taylor used to slot into pop music, with an emotional frankness that she showcased on Speak Now specifically. She treated music as her diary, and her songs on the albums are entries on her diaries. And this song is a return to that.
Speak Now is my favourite Taylor album, followed closely by Fearless. I would probably slot this probably in the middle of the two right now. This has the pop sensibilities of 1989 and some cuts on reputation, whilst blended with some brutally honest country storytelling lyricism that made me fall in love with Fearless and Speak Now. I can see why some people may not like this, as it's not new ground for Taylor unlike with reputation where she actually tried a new, "harder" sound; or 1989 where she went completely pop from the singer / songwriter vibe she went with on Red.
TL;DR: I love the album most likely because I've been thirsty for better songwriting from Taylor and had super low expectations because of LobotoME! and You Need To Calm Down.
Some points were made on Miss Americana and the Heartbreak Prince
I Forgot That You Existed, except I wrote a song about you, put it at track 1 of my new album that I'll be releasing 4 days before the VMAs, the tenth anniversary of the start of our "feud".
Sure the album isn't as bad as the pre release tracks suggested but it's just frustrating to see someone that is so talented not grow creatively (or seem to have a more mature view of the world) over the last five years. I'm all for romanticism, but how has Taylor's view of love changed since You Belong With Me? No fucking idea because we're still doing fairy tale tropes and happily ever after.
We all hate ME but somehow my personal hate is even bigger for Calm Down. It makes me angry.
Anyway the album as a whole exists. That’s about it.
Cmon Sweden working to destroy her career
I'm on my first listen and why is The Man lowkey snatching my wig rn ddd I did not expect that
I appreciate the sonic landscape she's exploring here, but it lacks emotional weight. Some songs have nerve; False God, It's Nice to Have a Friend, Soon You'll Get Better, Lover.
It's like she doesn't know how to translate happy love into music.
Honestly, I’m very happy with this album.
I certainly don’t love every song on first initial listens but I love the vast majority and can confirm most of the songs are a lot better than the singles she’s put out so far.
The clever lyrics are back, the storytelling, definitely more grown up but with a feel good vibe.
I think it’s a solid album and I do think there’s been some growth in terms of moving her sound on to something fresh and unexplored (albeit to a limited extent).
There are so many beautiful lyrics all over the album that I agree with the sentiment that the production is letting it down. These lyrics in Afterglow are staying with me:
“I lived like an island, punished you in silence
Went off like sirens, just crying
Why'd I have to break what I love so much?
It’s on your face, don't walk away, I need to say
Hey, it's all me, in my head
I'm the one who burned us down.”
Overall I'm really enjoying this album but there are like...no through and through amazing 18 track albums, I wish artists would stop with this.
Why does this sound like a Meghan Trainor album?
some tracks should remain shelved as well ddd
Bin I Forgot You Existed, Me and You Need To Calm Down, this is a pleasant and perfectly serviceable record for me. How she thought Me was the perfect first single to launch this record will remain a mystery.
I don't get these "back to her roots!" reviews. There's literally... one? country song (Soon You'll Get Better). The rest is flat-out pop.
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