Taylor Swift- A “Midnights” Review

credit:@taylorswift

Taylor Swift has reinvented herself, showing us her most vulnerable, raw, and self-critical side.

In this review, I give you my honest opinion on Swift’s latest album, “Midnights,which went down in Spotify history as the most streamed album in one day at the end of its release day (21 October). So what’s the deal with Swift’s new LP, on which she reflects extensively on her past?

The Tracks

The album starts with “Lavender Haze,” where Swift sings about staying in love with her boyfriend (actor Joe Alwyn), who she’s been dating for the past six years, even when the world is against them. On Instagram, she explained the phrase stems from the movie “Mad Men,” in which “lavender haze” is described as the state of staying on cloud 9. The song tries to capture this mood, but she sings mainly in falsetto, which isn’t her greatest strength (her lower register is so well developed). As a result, it sounds like a generic soup of sounds. Next. 

However, “Maroon” has everything you’d expect from a Taylor Swift song. She reminisces about a meaningful past relationship that could’ve been “it” and mentions New York, dancing, wine, and colors. The song has a double meaning: firstly, it refers to the color maroon, a darker shade of red (a reference to the Red album?), and secondly, to the verb maroon (stranded, left). “Maroon” is a darker, more mature view of a past relationship, where Taylor reflects on a meaningful love. Storytelling and lyricism are outstanding from the beginning to the bitter end, especially in the last chorus, where she uses a deep vocal register with so much passion and wistfulness that it makes you shudder.

 

A vulnerable lead single

In “Anti-Hero,” she exposes her biggest fears and calls herself out. It’s a catchy, memorable pop bop with lyrics that pull heartstrings. Swift acknowledges her calculative nature, public persona, and fear of getting older in a sexist music industry focused on youth. Arguably one of the best songs on the album, reminding of the pop magnificence of “1989” paired with “Folklore” lyricism.

I wake up screaming from dreaming /One day; I’ll watch as you’re leaving /’Cause you got tired of my scheming.

 

credit: The Long Pond Studio Sessions

The anticipated collaboration

“Snow On The Beach” feat. Lana del Rey distraught fans. Mainly because Lana did not get a verse, and everyone pretended she wasn’t audible. While both singers wrote the song together, Lana may have chosen to sing only backing vocals. The track illuminates the wondrous feeling of falling in love with someone and the rarity of the other person reciprocating it with the metaphor of “Snow on the Beach.” It’s very mellow but sounds a little too much like Christmas. Probably a grower.

 

Her road to fame is lyrically explained.

On every album, Swift has a gut-wrenching track five. And hell, “You’re on Your Kid” is THAT GIRL. She details her road to success, her romantic but ambitious disposition, the friends she had to leave behind, her eating disorder, and her lavish lifestyle at the height of her fame. In this song, she perfectly encapsulates the combination of loss and growth. A beautiful raw tune, relatable for many, even if they aren’t global superstars.

“I hosted parties and starved my body/ Like a perfect kiss’d save me.”

Song six, “Midnight Rain,” has a very corny title, but again Taylor might be a lyrical genius, but she also likes corny stuff, as she once described; lyrics that sound like they were written with a glitter gel pen. Once you get used to her distorted voice in the chorus, it’s an enjoyable pop song about wanting more than just the “postcard family” and the “comfortable” path; after all, she wants the” pain”; she IS “Midnight Rain.”

 

Side B of the album- more revelations?

Song seven, “Question…?” samples “Out of the Woods.” It’s a good song, where she asks her love interest a set of questions, an interesting concept.

“Vigilante Shit” is vengeful and cuts “sharp enough to kill a man” to reference Swift. It potentially refers to her feud with Scooter Braun, who bought her older albums, which she’s currently re-recording. In this song, Swift alludes to having told the FBI of his crimes and being in cahoots with his ex-wife. Sharp beats and lyrics, screaming after revenge.

“He was doing lines/ And crossing all of mine.”

Swift tells her partner in “Bejeweled” that although he makes her feel neglected, she can still shine. It’s a confidence anthem with a catchy melody, reminding you that you’ve still got it. You can certainly pull a look, getting ready with this hook.

Labyrinth is a yawn; skip it unless you want to fall asleep.

Track 11 is “Karma.” Instead of being a fierce song like “Vigilante Shit,” she digs at her nemeses in a joyful, cringy tone, playing with the concept of Karma working in her favor. An instant earworm and potential new Taylor Swift Classic?

“Sweet Nothing” is the most peaceful, simple love song on the album, where she expounds on her contentment with her relationship. Aww.

credit: The Long Pond Studio Sessions

She leaves nothing up to fate

In “Mastermind,” Swift ack” sleds h”r tendency to plan everything to reach her goals. Her mastermind is responsible for the trajectory of her relationship, and she also describes how women have to map everything out.

“Cause we were born to “e the pawn in every lover’s game /If you falover’slan, you plan to fail.” 

The sweetest moment” is when she explains to her boyfriend that nothing was “by accident,” and he ad, “its that he”has known all along. He accepts her for who she is. 

 

Overall, it’s an outstanding albit’sin in which Swift experiments with sounds and exposes her self-destructive midnight thoughts. Regarding commercial success, it has the potential to become huge, and Swift is proving again that she’s genuinely where she’sshe’sosed to be, atthe top of the Music Industry.

 

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