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% Taylor Swift s Midnights Is the Right Kind of Concept Album Taylor-Swift - Pop HEAD TOPICS
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At first, for me, this threatened to make it feel dull. Opening track “Lavender Haze” puts a sexy groove to Swift’s perspective on a major theme of the album, her gratitude for her lover unexpectedly sticking it out through her travails and stresses—which also sets up a subtheme about how those travails are gendered, about “the 1950s shit they want from me” such as people constantly asking her, “If I’m gonna be your bride/ The only kinda girl they see is a one-night or a wife.” At first I was a little put off by the businessy language of the lines, “Get it off your chest/ Get it off my desk,” but in some ways they do suggest the autonomy she wants to preserve along with her sex and love life—wanting to be a Madonna-like music maven without being caught in anyone’s madonna-whore complex.
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Slate » Every Taylor Swift Album Cover, Ranked Taylor Swift Drinks With Her Double and Holds Her Own Funeral in ‘Anti-Hero’ Music Video Review: Taylor Swift gets dark, electric on ‘Midnights’ Taylor Swift Dazzles in a Sparkly Bra and Sheer Minidress in 'Midnights' Visuals
Slate » Every Taylor Swift Album Cover, Ranked Taylor Swift Drinks With Her Double and Holds Her Own Funeral in ‘Anti-Hero’ Music Video Review: Taylor Swift gets dark, electric on ‘Midnights’ Taylor Swift Dazzles in a Sparkly Bra and Sheer Minidress in 'Midnights' Visuals
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Plus, the impact of Liz Truss' resignation on the broader market. Read more >> Every Taylor Swift Album Cover, RankedFrom the ‘Midnights’ to that Christmas album, here’s our ranking of every Taylor Swift album cover.
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Taylor Swift Drinks With Her Double and Holds Her Own Funeral in ‘Anti-Hero’ Music VideoTaylor Swift meets the anti-hero version of Taylor Swift in the official music video for “Anti-Hero,” the first lead single off the Grammy winner’s new album, “Midnights.&8…
Review: Taylor Swift gets dark, electric on ‘Midnights’“All of me changed like midnight,” Taylor Swift confesses halfway through her latest album, the aptly named and moody “Midnights.” Never understood why she hasn't gotten a boob job. Taylor Swift Dazzles in a Sparkly Bra and Sheer Minidress in 'Midnights' VisualsShop TaylorSwift13's Midnights outfits — from wardrobe basics to gowns TSmidnighTS
Taylor Swift released new album 'Midnights' at midnight, drops early morning music videoTaylor Swift released her 10th studio album 'Midnights' at midnight. Swift says the new album is filled with 13 'dark and electric songs' and the pop star says they are all products of late-night inspiration.
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WHO CARES!!! Taylor Swift released new album 'Midnights' at midnight, drops early morning music videoTaylor Swift released her 10th studio album 'Midnights' at midnight.
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Swift says the new album is filled with 13 'dark and electric songs' and the pop star says they are all products of late-night inspiration. ” on Lover but adds the self-awareness of the pandemic records.NSAI Songwriter-Artist of the Decade honoree, Taylor Swift performs onstage during NSAI 2022 Nashville Songwriter Awards at Ryman Auditorium on Sept.Midnights .a music video for "Anti-Hero" hours after "Midnights" released.
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Advertisement Advertisement The bad news might be that it also mostly cleaves to the middling tempos of those records. At first, for me, this threatened to make it feel dull.
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Terry Wyatt/GI Whether or not you’re a fan, it’s impossible to deny Taylor Swift’s impact on music. Opening track “ Lavender Haze ” puts a sexy groove to Swift’s perspective on a major theme of the album, her gratitude for her lover unexpectedly sticking it out through her travails and stresses—which also sets up a subtheme about how those travails are gendered, about “the 1950s shit they want from me” such as people constantly asking her, “If I’m gonna be your bride/ The only kinda girl they see is a one-night or a wife. The highlight of the “Anti-Hero” music video comes in the middle when Swift holds her own funeral, which is attached to the lyrics, “I have this dream my daughter-in-law kills me for the money / She thinks I left them in the will.” At first I was a little put off by the businessy language of the lines, “Get it off your chest/ Get it off my desk,” but in some ways they do suggest the autonomy she wants to preserve along with her sex and love life—wanting to be a Madonna-like music maven without being caught in anyone’s madonna-whore complex.
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These days, however, music isn’t just about music — it’s about the visual execution, too. Advertisement Advertisement Advertisement I think my initial feeling of dragging momentum was planted by the similarly paced second track “Maroon,” an OK song on its own but one that leans on a panoply of old Swiftian tropes: New York, wine, almost too-specific details of domestic scenery, clothing, etc. Positioning listeners situationally — in the quiet but thoughtful darkness of night — instead of thematically, feels like a natural creative experiment for a songwriter so prolific that her albums have become synonymous with the pop culture zeitgeist.
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The title itself seems to call back purposefully to Red, with “maroon” serving as the more melancholy and experienced version. For Swift, a handful of her biggest albums feature some of the most memorable art.
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The funeral descends into chaos. It all feels a bit generic and fan-servicey. Though that said, I was struck by the line, “Sobbing with your head in your hands/ Ain’t that the way shit always ends?” (Does Swift swear on every song here?
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If not, it’s fucking close. And that album went on to win album of the year at the Grammys.) Not to mention the buzzing synth drone that hovers and menaces throughout the second half of the song.” As she wrote, “Those 13 songs form a full picture of the intensities of that mystifying, mad hour.
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Advertisement Advertisement Advertisement On repeated listens, I found I cared less and less about how much the beats perked up and more and more about those textures and the twists of thought. So, Billboard decided to rank each of the pop star’s covers since her debut in 2006. Swift shines when she is able to marry her signature lyrical musings with this new arena of electronic beats.
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It took me a minute to realize that first single “Anti-Hero” (for which a charmingly goofy video was released this morning ) could actually be heard as a direct rebuttal to the mock-but-not-really-mock egotism of “Me!” I had doubted it made a good first single, but how had I overlooked the first line of its chorus? “It’s me, hi/ I’m the problem/ It’s me.” Swift has called the song one of the most naked she’s ever written about her insecurities, but it’s also funny about them. If you’re looking for how the albums stand against each other musically and lyrically, you’ve come to the wrong place.” Watch the “Anti-Hero” music video below.
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There’s the image of a touring superstar as an unrelatable monster—“too big to hang out, slowly lurching toward your favorite city”—and the Evermore-like vignette in the middle about her future children damning her posthumously when they discover she’s cut them out of her will (in favor of, the video very plausibly suggests, a cat sanctuary). Swift’s expanded ability to navigate vocal tones is also on display here. And, yes, this list is completely subjective, so it’s ok to disagree.
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During the monster bit, she subtly affects a fantasy-European elevation reminiscent of Kate Bush, that genius of extra-human metamorphosis; then Swift switches quickly to a very Yankee drawl about “my covert narcissism/ I disguise as altruism/ like some kind of congressman. But like the love-soaked "Lover," and intimate "folklore" and "evermore," "Midnights" feels like both a confessional and a playground, crafted by all the versions of Taylor Swift we’ve gotten to know so far for a new Taylor Swift to shine. ” Advertisement Advertisement Advertisement “Anti-Hero” may be undermined by the way it arguably serves as apologia and cover for the later, more self-satisfied dips she makes into the feud-and-revenge pond with “Vigilante Shit” and “Karma,” which target Braun and maybe West (who no longer needs any assistance taking himself down).
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Including both her re-recorded Taylor’s Versions and original master recordings, as well as that oft-forgotten 2007 Christmas record, see how we rank each of the Swift’s album covers, from worst to best, below. Personally I could have done without them, but even those songs are wittier and better constructed than their equivalents on past albums, and they do provide some variety of texture.
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My counterproposal for a first single might have been “Question…?”, one of the album’s many reconsiderations of past love affairs, framed as the kind of conversation many of us wish we could have with lost figures from the past. It’s frank about the psychic and erotic confusion that can linger for years, but in an honestly curious and unjudgmental way that I find touching. Its interpolations of the “I remember” from 1989’s “ .
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