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%Begin Taylor Swift Midnights Review Ghosts That Keep Us Up at Night - Taylor Swift HEAD TOPICS
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To do so, she contrasts a ‘70s album art aesthetic with a sound that combines pop and R&B, synth and lo-fi dance beats; this era is all about vibes. Where the sparsity of
MidnightsMiss AmericanaMidnightsreputationcontinued to show her dexterity with difficult compositions (though we still haven’t heard “Cruel Summer” live).One of the most delightful things onfolklore/evermoreHer Catwoman fanfiction song “Vigilante Shit” will likely be a polarizing track, but it’s a perfect example of matching her tone to a purpose; She lets her voice float up in fake earnesty on “She looks so pretty,” before dropping back down into revenge.
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The little bridge moment could have been the Lana del Rey collab, as she’s clearly channeling Lana’s way of sliding up into a phrase like a genie emerging from a bottle. (Billie Eilish’s influence is audible here as well.) Read more:
Teen Vogue » Taylor Swift‘s Fifth Inspiration for ‘Midnights’ Is a Dark One One Of Taylor Swift's New Songs Seems To Be About Miscarriage — And Fans Are Reacting Taylor Swift and Lana Del Rey Are All For Janet Jackson in ‘Snow on the Beach’ Lyric Gov.
Teen Vogue » Taylor Swift‘s Fifth Inspiration for ‘Midnights’ Is a Dark One One Of Taylor Swift's New Songs Seems To Be About Miscarriage — And Fans Are Reacting Taylor Swift and Lana Del Rey Are All For Janet Jackson in ‘Snow on the Beach’ Lyric Gov.
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Kathy Hochul, Congressman Lee Zeldin among politicians in attendance at annual Al Smith Dinner
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We're getting to know our very own Cindy Hsu a little better with a series of rapid-fire questions. Read more >> Taylor Swift‘s Fifth Inspiration for ‘Midnights’ Is a Dark OneThe pop star has been sharing things from her “sleepless nights” that fueled the writing of her upcoming album. we don't care There's my general theme of 2022 from now on (not the falling apart -I call it tuesday, the album) 3 Keeping the day day up to speed NatalieGelman 🤸 with 🎶Heavy Heavy Heart🎶💕 🤗 One Of Taylor Swift's New Songs Seems To Be About Miscarriage — And Fans Are Reacting'Bigger Than The Whole Sky' off of Taylor Swift 's tenth album, 'Midnights,' is about love and loss.
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Taylor Swift and Lana Del Rey Are All For Janet Jackson in ‘Snow on the Beach’ Lyric Taylor Swift and Lana Del Rey gave a sly shoutout to Janet Jackson on their new collaboration, 'Snow on the Beach!' 👀 u mean just taylor? Gov.
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Kathy Hochul, Congressman Lee Zeldin among politicians in attendance at annual Al Smith DinnerAs Election Day approaches, New York's gubernatorial candidates turned out for the annual Al Smith Dinner in Midtown on Thursday. It's a fundraiser mixed with politics and laughter.
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DBrennanTV reports. Queendom916 SuburbsGal this is the first time they were seen together or in the same area
Conan O'Brien Reflects On The One Thing That Got Him Jumped In BostonO’Brien told a story about getting his 'nose smashed in' while in a “sort of dicey neighborhood” of Boston before he went to Harvard University. Taylor Swift and Joe Alwyn's relationship, in their own wordsSwift said her boyfriend of six years inspired one of the songs on her new album, 'Midnights.' Sweet Only one dedicated to her current boyfriend?
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Her exes get at least three on each album! in which she finds freedom and insight as well as terror and insecurity.Nearly two months later, Swift has spent the week leading up to Midnights ‘ Friday (Oct.pregnancy loss .courtesy of Del Rey, whose spare vocal interjections on the gauzy ballad mostly serve as harmonic support to Taylor. This Taylor Swift Midnights era, TS10, set out with the purpose of chronicling those feelings, retreading the ground that surfaces again and again for all of us in the dark: “Self-loathing, fantasizing about revenge, wondering what might have been, falling in love, falling apart,” as she revealed in several Spotify videos.
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To do so, she contrasts a ‘70s album art aesthetic with a sound that combines pop and R&B, synth and lo-fi dance beats; this era is all about vibes. In the first video, posted earlier this week, she revealed that “self-loathing” was one of them, followed by the second — “fantasizing about revenge. Where the sparsity of folklore/evermore combined with the pandemic art context gave her lyrics room to breathe and grow, Midnights is more focused on sounds and style, especially vocally.
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“Goodbye, goodbye, goodbye / You were bigger than the whole sky / You were more than just a short time / And I've got a lot to pine about / I've got a lot to live without. Once she proves something, she sets out to prove something else. Photo credit: Beth Garrabrant Miss Americana about the necessity of new eras for women in music, how true that is.” At press time it did not appear that Jackson had responded to the tribute, but it’s worth noting that in 2009 Swift revealed that Jackson sent her flowers after Kanye West (who now goes by Ye) famously crashed Taylor’s VMAs acceptance speech.
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“The female artists have reinvented themselves 20 times more than the male artists. Other lyrics in the song’s verses more generally talk about love and loss — relatable to most anyone. They have to or else you’re out of a job.
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Constantly having to reinvent, constantly finding new facets of yourself that people find to be shiny. Be new to us, be young to us, but only in a new way and only in the way we want,” she said.” It’s really important to note, for those who aren’t super-familiar with Swift’s backlog of songs (and why are you not??) to understand that even if the song is indeed about miscarriage or pregnancy loss, it’s not necessarily Swift’s personal experience or confessional moment — she often takes on other people’s experiences or entirely other characters during her writing and performances. “And reinvent yourself, but only in a way that we find to be equally comforting but also a challenge for you.
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” There’s no one quite like her when it comes to keely calling out true musical phenomena in a way that can also offset future criticism. She seems to love an era as much as it plagues her — the pressure can spur her to compelling shifts.
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“I can’t imagine this being about anything else. On Midnights , that shift happens with her voice.
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It’s no secret that Taylor’s songwriting abilities outpaced her singing talent when she was in the first decade of her career. As her voice matured and she worked on her confidence, that changed. “I never thought I’d hear those feelings out so perfectly into song.
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2017’s reputation was a proof point in that aspect; she soared with choirs on “Don’t Blame Me” and sounded incredible on tour. Lover continued to show her dexterity with difficult compositions (though we still haven’t heard “Cruel Summer” live).
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Folklore/evermore was lower and slower, highlighting her natural range to great effect with a folkier style.” “Going through IVF right now and lost in the early days a pregnancy last May. One of the most delightful things on Midnights is how Taylor is totally game to play with her voice and what it can do, now that she has that self-assurance built over time. Longtime collaborator Jack Antonoff is a helpful aid here — he produced or co-produced all of the album, plus a few additional tracks on the seven surprise bonus songs on Taylor’s 3 a.
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m. Gosh, she is that good. version (she brings in folklore/evermore teammate Aaron Dessner for a few as well).
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The sound of her singing feels more present than some of the lyrics themselves; she sings “Anti-Hero” with a tone that screams “over it.” The exhaustion — with bad-faith critics and with herself — is palpable. When she sings that she’s the problem and “everybody agreeeesssssssss” at the end, she sounds, fittingly, like a dying snake.
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Elsewhere, she leans into her natural inclination to scoop up into the note on Lana del Rey collab “Snow on the Beach,” doubling down in an extreme way that has that “ahh-eye” noise imprinted on the brain. “Midnight Rain” tweaks her voice entirely into a goopier, pitched down hook about wanting more than just to be someone’s bride.
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Track five, “You’re On Your Own Kid,” is one of the standouts on the album; the lyrical narrative of turning a fear into a strength is some of her best work yet, and the way she dips down vocally on a line like “I search the party of better bodies” emphasizing the rounded “ah,” is so satisfying. Her Catwoman fanfiction song “Vigilante Shit” will likely be a polarizing track, but it’s a perfect example of matching her tone to a purpose; She lets her voice float up in fake earnesty on “She looks so pretty,” before dropping back down into revenge. The little bridge moment could have been the Lana del Rey collab, as she’s clearly channeling Lana’s way of sliding up into a phrase like a genie emerging from a bottle.
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(Billie Eilish’s influence is audible here as well.) Photo credit: Beth Garrabrant The focus on her voice and on the cool, thick production — which is at its best on songs like “Lavender Haze” and bonus track “Glitch,” both done with Antonoff, Mark Anthony Spears, Sam Dew, and Sounwave — can sometimes result in clunky phrasing. “Maroon” is already a song so closely tied to Red that conceptually it feels a bit overdone, and the line “carnations you thought were roses, that’s us,” doesn’t pack the punch the song sets it up to do. “Bejeweled” is catchy musically, but she got at some similar ideas in a more poignant way on folklore ’s “mirrorball.” Meanwhile, “Labyrinth” has that lyrical sophistication and devastation, but it gets mired in the heavy organ and vocal production.
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A fan asked her in a Sirius XM Q&A if the album contained essentially vault tracks from previous albums, retrofitted to make the Midnights concept album. Taylor denied this, saying it’s all new work, though cryptically, “It might have been, you know, ideas or concepts or things I've thought of maybe making in the past, but I didn't write anything until I was making this album.
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I think that in terms of referencing my previous work, that's a fun thing for me to do.” Because Midnights does draw on past nights throughout her life, however, some songs can feel lyrically like leftovers, or like her more cerebral tracks were turned into bop versions. Not a bad thing necessarily, but a notable one.
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In some places, though, those separate forces of production and lyricism work in perfect harmony. Track 13, “Mastermind,” follows “Sweet Nothing” as a contextual love song that hints at her god complex impulses and how with the right person, maybe they’re not so necessary after all; the instrumental builds to a glorious release, calling to mind Lorde’s “Supercut” on Melodrama . “Lavender Haze,” also worked on with Zoë Kravitz, Jahaan Sweet (Beyoncé’s “Heated) and Braxton Cook (a saxophonist and jazz musician), is grounded by, ahem, some sick little beats.
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But it also fits in a word like “melancholia” and uses some of the musical fare from Lover track “I Think He Knows” in the chorus. (Later on, she echoes 1989 hit “Out of the Woods” and mimics the structure of “Blank Space” in “Question…?”) One of the sharpest lines on the album is “The only kinda girl they see/Is a one-night or a wife.
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” That’s not to say a lyric needs to be self-referential or deep or complex to have impact. Why is it so fun and absurd to hear Taylor sing phrases like “everyone’s a sexy baby” and “some dickhead guy” and “karma is a cat?” The most underrated version of Taylor is the one who lets herself be playful and cringe, who knows the value of a phrase that shocks you out of a song with a gasp and a cackle.
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Content .
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