Taylor Swift - The Tortured Poets Department

Here are the lyrics to So Long, London.

I saw in my mind ferry lights through the mist
I kept calm and carried the weight of the rift
Pulled him in tighter each time he was drifting away

My spine split from carrying us up the hill
Wet through my clothes, weary bones caught the chill
I stopped trying to make him laugh, stopped trying to drill the safe

Thinking how much sad did you think I had, did you think I had in me?
Oh the tragedy. So long London.
You'll find someone.

I didn't opt in to be your odd man out
I founded the club she's heard great things about
I left all I knew you left me at the house by the Heath

I stopped CPR, after all it's no use
The spirit was gone we would never come to
And I'm pissed off you let me give you all that youth for free

For so long, London Stitches undone
Two graves, one gun I'll find someone

And you say I abandoned the ship but I was going down with it
My white knuckle dying grip holding tight to your quiet resentment
And my friends said it isn't right to be scared
Every day old love affair, every breath feels like rarest air
When you're not sure if he wants to be there

So how much sad did you think I had, did you think I had in me?
How much tragedy?
Just how low did you think I'd go 'fore I'd self implode?
'Fore I'd have to go be free?

You swore that you loved me but where were the clues?
I died on the altar waiting for the proof
You sacrificed us to the gods of your bluest days

And I'm just getting colour back into my face
I'm just mad as hell cause I loved this place for

So long, London
Had a good run
A moment of warm sun
But I'm not the one
So long, London
Stitches undone
Two graves, one gun
You'll find someone

100% Joe track, if you ask me.

Yeah, the "And I'm pissed off you let me give you all that youth for free" reminds me of her Time interview saying "Those years I spent hiding myself away, I'll never get that time back"
 

Subwaykid

Staff member
Yeah once you get past the first two tracks, everything gets much more interesting, with tracks 6-10 being the best bits here right now.

The Charlie line is clunky but I agree that it’s meant to point out the unpretentiousness of the relationship, despite what they think of themselves (thinking they’re Dylan Thomas and Patti Smith while they really just get high and eat junk food). It’s a good idea with bad execution. A “leave the Christmas lights up til January” moment.

I have no idea what Fortnight is on about, or why she chose it as the opening track. It throws us into the middle of a narrative with no explanation.
 
I actually really like that prologue, it clearly takes inspiration from the Dead Poet's Society. It summarizes the whole time period the album is about (in denial that her relationship with Joe was dying, trying to make it work but ending it and going into a manic/rebellious phase, having a fling with Matty, etc)
 
Is anyone else getting Soon You’ll Get Better vibes from loml? Obviously the lyrical content is completely different, but the piano production and her vocal delivery specifically
 
I have been pondering on @boom bazooka joe's point about the Charlie Puth line, and the good sis is absolutely right in that you're either someone who can withstand that type of shit or you're not, as well as about the fact that she's always been deeply uncool and maybe she's just leaning into that with it more than trying to pass it off as clever, but I do happen to be someone who found it absolutely abhorrent and skip-worthy for as long as I live. I don't want to be endeared to that side of her or to Charlie Puth, choose another artist to highlight at least!
 
Fortnight is a sneaky one. Her hushed tone is kind of hypnotizing.

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I have been pondering on @boom bazooka joe's point about the Charlie Puth line, and the good sis is absolutely right in that you're either someone who can withstand that type of shit or you're not, as well as about the fact that she's always been deeply uncool and maybe she's just leaning into that with it more than trying to pass it off as clever, but I do happen to be someone who found it absolutely abhorrent and skip-worthy for as long as I live. I don't want to be endeared to that side of her or to Charlie Puth, choose another artist to highlight at least!
Oh, I do think that there are a plethora of other artists that could have been used that would have made a similar point without such a visceral (negative) reaction from 90% of the listening audience, but again, maybe that was the point? (The truth is she probably loves Charlie and actually does think he should be a bigger artist and has no idea what public perception of him really is fff.)
 
Oh, I do think that there are a plethora of other artists that could have been used that would have made a similar point without such a visceral (negative) reaction from 90% of the listening audience, but again, maybe that was the point? (The truth is she probably loves Charlie and actually does think he should be a bigger artist and has no idea what public perception of him really is fff.)
It absolutely was. The way it was such a missed opportunity to namedrop someone who would benefit just as much as the public from that kind of gargantuan exposure like Tinashe or whatever, and actually be right in her sentiment. She had one job!!!
 
I'm going to wait to articulate my long form thoughts until tomorrow but I'm really happy with it overall. I think mileage will vary based on how much time one has for her glittery vocoder drenched mid-tempos but as someone who eats them up every time this is basically what I would want if she wasn't going to go too left field (let's be honest, that's not realistic). While the opening stretch is most akin to Midnights they feel a lot beefier than anything on that album. The vocal production saves Fortnite in particular, those layered vocals are gorgeous. Down Bad is probably my favorite thing here along with But Daddy I Love Him, Guilty as Sin and Fresh Out the Slammer.

Clara Bow is the only flat out boot for me. That beauty/beast line is beyond cringe but otherwise I think this album is a lot better written than Midnights, with better production too.
 
He/Him/His
I wish “Guilty As Sin” went somewhere melodically. That’s my issue with most of the Aaron tracks on this album, which is weird because his toplines are usually so beautiful.
It's frustrating, because it's an easy highlight. It sounds slinky, and I love the guitar pedal — but it also plods along at the same time, which keeps it from being a full-on 10/10.
 
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