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thehighestmountains · 2 years

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midnights by taylor swift review im back for another first listen release review. the majority of songs i love (bolded i will stand and die by) and enjoy but there are some skips. i think this album has a lot more variety than her last two albums that will pertain to a lot more people, but is less focused on one sound like folklore. off the bat, i doesnt eclipse any of my favs (folklore and reputation), but hm it might fight reputation, it reminds me of a more mature reputation and is more experimental with vocals and instrumentals. lets dive in:

lavender haze - the electronic start of this song with "meet me at midnight" is so danceable. i love the "yeah oh yeah"s, they are so goood. this song just makes me want to move, im obsessed.

maroon - the verses dont do a whole lot for me, a little boring and 2 drum beats, but i love the whole chorus "the burgundy on my t-shirt when you splashed your wine into me" and the "maroon"s coming in louder and louder throughout the song. anti-hero - this song is kind of funny and cheeky, despite the words being super dark (my fav "when my depression works the graveyard shift, all of the people ive ghosted stand there in the room"). i thought the "its me, hi, im the problem, its me" was a little lame, but its growing a lot of me after 2 listens.

snow on the beach - theres like two speeds in this album, one electronic and other side super soft and slow, this one being the later side. in contrast to some of my other favorite songs, it doesnt quite hit as dramatically but i do enjoy its dreamy, light verses and "weird but fucking beautiful". youre on your kid - this little indie beat is so sweet and her spoken "youre on your own kid, you always have been" is perfect, uplifting, brings me peace. i also love the verse, prechorus, verse, chorus pattern. it tells a story from beginning to end, and i love a story. midnight rain - the beginning!!! the contrast of her electronically-deepened voice is so fun against the first line "my town was a wasteland". the soft claps, the drum beat, "picture perfect shiny family holiday peppermint candy" wrap everything together. question..? - i dont love the chorus lyrics, its far too specific. the tone of the song also stays very flat and i dont really love the bridge either especially that autotuned "tonightttt". lmao the clapping and cheering. but the song isnt like annoying or anything so ill listen to it more. vigilante shit - super reputation-like "are you ready for it" sound. i only like this song when she sings "don't get sad, get even". i live for the spice on the "even", its maybe one of my favorite lines in the whole album, but the song itself is bottom tier. bejeweled - i cant with this song. the way she sings *shimmer*, i cant do it. the rhymes at the end of the songs "man / remember", the childish "nice!", "i miss sparkling". cant relate. labyrinth - for a song that is about falling in love, its far too chill and i dont like the weird floob-floob sounds scattered throughout. the vocals are so soft and the instrumentals are random.

karma - this song is an easy fan favorite that blew up on tiktok immediately and im clapping riding that train. its catchy, its funny, its "sweet like honey". this makes me love taylor.

sweet nothing - this funky lullaby is a sweet love song and reminds me of delicate "you must like me for me". the choruses are much better than the verses though, like lol wut "i wrote a poem, you say what a mind, this happens all the time".

mastermind - obsessed with the intro beats and "checkmate i couldnt lose", but the "im a mastermind" and the whole song makes me think really, did you plan your current relationship, kind of weird and creepy sorry (3am track time!) the great war - the chorus is so strong and catchy "my hand was the one you reached for all throughout the great war". i also just like the messaging that her current relationship carried her through this huge drama. bigger than the whole sky - i do like the sound of the background instruments, some of the lyrics im not a huge fan of like "did some bird flap its wing over asia" and etc, and "shouldve been couldve been" feels like it shouldve been in another song. the song just flows past you and its over. paris - uh excuse me? rhyming paris with (some)where else?? genius. the verses are witty and i cant wait to learn them: "drew a map on your bedroom ceiling". also anyone else notice in the bridge "at midnight in my mind" sounds just like daylight. this feels very much meant for lover but it still fits.

high infidelity - the piano and vocals are straight out of evermore but all the beeping and button sounds brings it into the midnights era. im also getting strong renegade energy ("are you really gonna talk about timing in times like these?") from "do i really have to ...". i love "put on your records and regret meeting me, put on your headphones and burn my city". there are some things i would change about the song but overall its good. glitch - the background static and "oh oh ooh"s add velvet and warmth to the song, despite the kind of boring lyrics "i think theres been a glitch im fastening myself to you with a stitch". she writes this glitch/system/static/counterfeit/malfunction metaphor but it never really sticks 100% for me. its just missing something to tie it all together. would've, could've, should've - this song is impressively balanced, with such strong verses, choruses, and bridges. "if youd never looked my way i wouldve stayed on my knees". dear reader - heavenly vocals with a melody that actually surprised me, and a bridge that feels liberating like taylor is finally telling you her truth. the way she manipulates her voice electronically adds so much interest and intrigue to the song. overall, taylor does not disappoint yet again with a funky fun album with a song for everyone.

#midnights #taylor swift #taylor swift midnights review

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taylornation · 4 months

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We’re looking back on this year and feeling like we just lived 13 lives? 🤯

Thanks for making it best year yet! 🫶 Also, since today is 123123, we gotta say it… 1, 2, 3, let’s go (to 2024), bitch!

#Taylor Swift #2023 #Year in Review #Midnights (The Til Dawn Edition)#Karma (Feat. Ice Spice)#Speak Now (Taylor's Version)#1989 (Taylor's Version)#VMAs #Taylor Swift | The Eras Tour concert film #Spotify Top Global Artist #Apple Music Artist of the Year #Google Most Searched Songwriter #Happy New Year

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new-york-no-shoes · 2 years

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I honestly haven’t looked yet but if anyone so much as hints at the idea that Taylor is “moving backwards” (lol) from her work on FolkMore with Midnights I will be calling their attention to this paragraph of Rolling Stones 100/100 instant classic review:

#taylor swift #midnights #Rolling Stones #midnights review #just saying

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agreyrose · 10 days

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No because you bitches aren’t listening to her. She left the glitter gel pens in the Midnights room!! Watch the video!!! You sound so stupid! “Omg, my fave rn is So High School/The Alchemy/Guilty As Sin?/ etc!! love a glitter gel pen song!!!” WRONG! She left the glitter pen songs in midnights! There isn’t a single one on TTPD!! Idc if it’s good ass throwing music, I agree! Shake your ass! But it is a RUSE and it is NOT a glitter gel pen song I stg !!

#also by bitches I mostly mean hetlors lmfao #‘travie wavie makes her feel like she’s in high school how sweet’#you’re missing the point #the pen analogy is about the lyrics not the sound #even if it ‘sounds’ happy by leaving the glitter pens in the midnights room she is clearly telling us to look deeper #taylor swift #gaylor #ttpd #queer #so high school #guilty as sin?#the alchemy #glitter gel pen songs #quil pen songs #fountain pen songs #ttpd review

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angeblancrose · 17 days

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An Honest Brief Review Of TTPD

People are going to dive into the words and look for clues to try and string people and events together, but I'm not here to do that.

I'm here to talk about the brilliant tapestry of words she's woven into this album, THE TORTURED POETS DEPARTMENT.

Twists of Modern Poetry weaving in and out in a musical symphony. This was THE Taylor Swift album.

The songwriting, symbolism, and the aesthetic of it all encompass who she is as an artist in the music industry.

The whole album was compact and well intertwined from start to finish. You can count on Taylor Swift to make an album that is not only sonically cohesive or aesthetically pleasing but also contains songs that can exist even outside of the tracklist, on its own, with no context, whatsoever.

The whole promo leading up to release day and how she didn't put out any singles until today kept everyone on their toes, anticipating and wondering what this album is going to sound like. She's a Mastermind, no one can deny.

#taylor swift #it surpassed midnights #no skips #maybe one but purely 'cause it's not my taste :)#swifties #taylor's version #taylor nation #the eras tour #THE TORTURED POETS DEPARTMENT #ttpd #ts11 #music review #new album #midnights #songwriter #music #but it's not over yet...

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clark-reviews · 2 years

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Album Review: 👍🏼Recommend

Lana Del Rey, Incense, The #1 Male Sex Toy in the World, and the Auto Play feature on YouTube Music?

The secret recipe for turning people into Taylor Swift fans isn't once size fits all, in fact, when it comes to the moment a talented artist grabs your attention for the first time, I think of it more like a meet cute. Cupid doesn't care who you're with either, he's sneaky like that. I had no intention of listening to "Midnights". In fact, Taylor Swift wasn't even on my Pop music radar until she infiltrated my bedroom solo act, with Lana's masterpiece, "Born To Die", as the sonic backdrop I had consented to.

As though Lana had lovingly snuck Taylor into the room and revealed her as a surprise birthday gift, "Snow On The Beach" auto played right after Lana's album ending track, "Lucky Ones". I have to admit, as though I was audibly blindfolded, when Taylor's track started, ladies and gentlemen of the jury, I couldn't tell them apart! "Snow On The Beach" has Lana's red lipstick-stained cigarette butts all over it. She seamlessly weaves in and out of Taylor's (surprisingly) sultry vocal delivery, never taking control of the song. But she's there in the room, the whole time, making sure I'm still okay with this cunning sleight of hand.

My second order of business for the night was to check and see if Lana had just silently dropped an album on me without telling me first. One that included this new song. To my surprise, it's on Taylor Swift's new album!? As a man who appreciates a good musical rabbit hole, I delved further and started "Midnights" from the top. Because "What's the big idea?" and whatnot.

To be perfectly honest, I chuckled at the title of the first track "Lavender Haze". My mind immediately connected it to "Purple Rain" and well... It was a cute moment. I've since read that this album contains Easter eggs, albeit, this may not be one of them. I hit play though and I got smacked in the face with the most uncannily Dua Lipa sounding song on the whole album. This is a good thing though, we like Dua Lipa. And it's refreshing to know that Taylor might have taken some influence from her, and chose to give her a lovely nod to begin the album.

"Maroon" is an interesting track as well, because it's always the second track that sets the pace of an album, in my opinion. Just as a single note isn't a melody until there's a second note to compliment it. In music theory this is called an interval. And in this case, the previous track was in B-flat Major, and "Maroon' is in G Major. Not to get too technical, but this interval the first two tracks created is called a "minor 3rd" (m3). For reference, the first two notes of Moonlight Sonata form a minor 3rd. I already know this album is going to be a little bit sad. And boy did it deliver! Because "Anti-Hero" is in E Major, and we now have a descending diminished arpeggio taking us into the third song. Taylor is building suspence with this track order!

In most albums, you'll find that the third track is almost always a single. "Anti-Hero" comes in loud and clear. Taylor's voice is now front and center with that gorgeous verse melody. The starting lyric is "I have this thing where I get older but just never wiser" and her command of that falsetto on the word "thing" sells the lyric to me at full-price every time. What a mature delivery, to attach to such a doubtful line about oneself, but sing it so confidently. There's something special about this song. It's a song about insecurities, and I'm humbled to hear it sung so proudly. Whatever she was going through, seems now resolved. We enjoy those moments, don't we.

After "Snow On The Beach" we have a few more tracks that seem to explore even further -Taylor's latest pop sensibilities, with "Bejeweled" being the bubbliest one of all. For my personal preference, I wasn't too impressed with it. The song seems a bit crowded with too many lyrics and Taylor seems to breathe between words at odd moments. It's probably more suitable for fans of her previous bodies of work. Let's just say that if "Bejeweled" had played after "Lucky Ones", I wouldn't be writing this review, and I would have never heard one of the most hauntingly beautiful pop songs I've ever listened to, and it's been on repeat since 11:47pm last night...

*Song Spotlight*

That song is "Labyrinth", and it has the honor of a spotlight. Let's listen together.

youtube

If Labyrinth doesn't successfully heal any emotional wounds of yours, then it'll proceed to inflict one, clean it, dress it, and kiss it for you.

This song took me back to 2012. I'd met a beautiful young lady at an airport terminal in Copenhagen on my way back from visiting my mother in Norway. We had a meet cute that led to us spending the next 32 hours holding hands, loitering the airport, waiting for her to tell me to smile again and again, and wishing to never go home. As I finally boarded the flight that separated us, she kissed me on the lips for the first time since we'd met. It was at that moment that "Labyrinth" should have started playing over the loudspeakers. Because in my mind, when I think of that moment, this song belongs to it. This song gave me closure, and I'm grateful.

To close out the album, we have the cleverly celebratory lyrics of "Karma", the rich and sweet nostalgia-inducing "Sweet Nothings", and "Mastermind" could have very well been the first song on the album, because it perfectly encapsulates the lyrical pretenses of every song on this album. She's acknowledging that she's in control of every rushing memory she penned to the sheet, every winding road she willingly drove while sitting in the driver's seat.

Taylor Swift took me on a ride with this album, and I'm inspired to take her up on her next foray into the throws of adult womanhood. I have trust in her now.

#taylor swift #midnights #album review #labyrinth #Youtube

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cyarsk5230 · 14 days

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The Tortured Poets Department official reviews so far (Via theswiftmuseum):

100 - American Songwriter

100 - Rolling Stone

100 - The Arts Desk*

100 - The Independent

94 - Variety

90 - Sputnik

90 - The Irish Times*

85 - Under the Radar

80 - Clash

80 - Dork*

80 - Los Angeles Times

80 - The Guardian

80 - The Line of Best Fit

80 - The Observer

80 - The Telegraph

75 - AV Club

73 - Northern Transmissions*

70 - MusicOMH

60 - NME

60 - The New York Times

36 - Paste Magazine

* = Doesn’t count for Metacritic.

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swiftieinbrazil · 5 months

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The Tumblr's 2023 Year in Review is out! According to @fandom in the new category Musical Acts Taylor Swift was the musical act most discussed on Tumblr. Ps: this category replaced the previously separate Music Groups, Kpop, and Solo Acts lists. In the previously Solo Acts list, Taylor was the most discussed solo act in 2021 and 2022 (click here to see it).

Also, in the category Top 23 of 2023, @fandom revealed that Taylor Swift was the only artist on the list, being the 9th subject most discussed on Tumblr:

"Taylor Swift had kind of a big year, what with the albums, the epic global tour, and the movie and stuff. Fantastic work, @taylorswift, the Swifties on Tumblr thank you for everything."

#taylor swift #tswiftedit #taylorswiftedit #tsedit #the eras tour #swifties #tumblr #year in review #tumblr 2023 #musical acts #top 23 of 2023 #fandom #midnights album #midnights era #midnights taylor swift #swifties are the best #tswift #tscreators

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bananaofswifts · 2 years

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BY MIKAEL WOOD

Taylor Swift’s pin-sharp new album, “Midnights,” closes with a song in which the pop superstar patiently explains to someone — perhaps many millions of someones — that their intimate relationship wasn’t a product of kismet but of design.

“I laid the groundwork,” she sings over a blippy electronic groove, her voice edging slightly ahead of the beat, “and then just like clockwork the dominoes cascaded in a line.” The tune is called “Mastermind,” which is what Swift calls herself in the chorus, neatly rhyming the word with “now you’re mine.” And plenty of its characteristic detail can make you think she’s describing a romance. But “Mastermind” is also about Swift’s one-of-a-kind career — about the deliberation and the ingenuity of the moves that took the 32-year-old from being a teenage country phenom to being one of the two or three biggest acts in all of music.

“No one wanted to play with me as a little kid,” she sings near the end of “Mastermind,” which might be the saddest and funniest line on an LP teeming with both kinds, “so I’ve been scheming like a criminal ever since to make them love me and make it seem effortless.” (Take a second to savor the intricate rhythm of those words before you’ve even heard them set to music.)

Pondering the delights and the anxieties of her own celebrity has been a hallmark of Swift’s work for years — or at least it was until 2020, when she set aside much of the autobiographical life-of-a-pop-star stuff for the ostensibly fictional character-driven narratives of her twin pandemic albums, “Folklore” and “Evermore.” Full of songs about small-town grifters and awkward high-school kids and unhappily married people — even a murderer — those projects also radically recast her sound, veering away from the synthed-up productions that sent her up the Hot 100 toward a rootsy, mostly acoustic vibe she formulated with Aaron Dessner of the indie-rock band the National.

Swift suggested that the isolation of the pandemic had set her imagination free; certainly, the music’s smaller scale reflected the demands of remote collaboration. Yet “Midnights,” her 10th studio full-length, returns to an earlier Swift mode in both sonic and lyrical terms: This 13-track set, which she produced with her longtime creative partner Jack Antonoff, feels like it picks up right where 2014’s “1989” and 2017’s “Reputation” left off, with slick, beat-heavy arrangements that seem dimly aware of hip-hop’s existence and with lyrics peppered with juicy allusions to Swift’s various high-profile feuds and love affairs. (“Lover,” from 2019, plays even more now than it did then like a transitional effort between phases of Swift’s career.)

It’s easy in a sense to understand why she took this approach, given that she spent 2021 rerecording her albums “Fearless” and “Red” as part of a plan to create new versions of the LPs she lost partial control of when her old record label changed hands. As meticulous a diarist as pop has ever known, Swift has clearly been thinking — thinking more than usual — about her journey and about her younger selves; “Nothing New,” one of many freshly recorded outtakes she included on “Red (Taylor’s Version),” captures a woman in her 30s confronting her 20-something suspicions about how her chosen industry would treat her as she aged out of ingénue-hood.

“Midnights” opens with the steamy, R&B-adjacent “Lavender Haze,” in which Swift laments the scrutiny she’s under as a famous person dating another famous person (in her case, the English actor Joe Alwyn); the song — co-written by and featuring background vocals from the actress Zoë Kravitz — seeks a safe space removed from a realm where her loose talk threatens to “go viral,” as she puts it. In “Anti-Hero,” over Antonoff’s buzzing synths and booming ’80s-rock drums, she weighs the public’s harshest opinions of her, copping to a “covert narcissism” and admitting that sometimes she feels like “a monster on the hill … slowly lurching toward your favorite city.”

The vicious and shimmering “Karma” seemingly takes aim at the powerful music executive Scooter Braun, who engineered the label purchase that spawned Swift’s rerecording enterprise: “Spiderboy, king of thieves / Weave your little webs of opacity,” she sings — heed the conspicuous “S” and “B” in “Spiderboy” — before describing what she views as her cosmic advantage with a series of vivid metaphors: “Karma is my boyfriend / Karma is a god / Karma is the breeze in my hair on the weekend.” The breeze in her hair on the weekend! Good night, Spiderboy.

Swift’s storytelling impulse isn’t dead on “Midnights,” which she’s said grew out of her bent toward wee-hours contemplation. “Midnight Rain,” a slow and woozy number with pitch-shifted vocals, narrates a tale of a guy and a girl with differing life goals, neither of whom appear to be Swift or Alwyn; ditto “Maroon,” in which the guy and girl get drunk off her roommate’s “cheap-ass screw-top rosé.” Then there’s the pulpy, Billie Eilish-ish “Vigilante S—,” about a woman who helps a betrayed wife get revenge on her dirtbag husband.

Yet the songwriting and the vocal performances here are so strong — she’s playing with cadence and emphasizing the grain of her voice like never before — that eventually you stop caring what’s drawn directly from Swift’s real life and what’s not. It’s just a pleasure to get lost in tunes like “Labyrinth,” in which the singer explores her fear of falling in love again, and “Snow on the Beach,” a gorgeous duet with Lana Del Rey with some of the album’s most affecting imagery: “My smile is like I won a contest,” Swift sings in regards to a surprising new fling, and that’s all you need to conjure the precise picture in your head.

She paints another indelible picture in “Mastermind,” referring to herself as “the wind in our free-flowing sails” just after she offers a bit of context for why she’s been so thoroughgoing in her interactions with her boyfriend (or her audience). “All the wisest women had to do it this way ’cause we were born to be the pawn in every lover’s game,” she sings. Then she takes a breath and adds: “If you fail to plan, you plan to fail.” Only Swift could make a self-help slogan sound like a fairy tale.

#taylor swift #midnights #review

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justanonlinelove · 2 years

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FINISHED MIDNIGHTS. and I'll need at least a month to process.

#taylor swift #you're on your own kid #midnights taylor swift #midnights #mastermind #bejeweled #midnight rain #if I manage to organize my thoughts I'll make a review but I'm TIRED

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creativedifferencespodcast · 6 months

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Taylor Swift is a solo act, but not a solo act. You know what I’m saying? Every music artist needs their band and background vocalists to support them and give us the full musical experience of their artistic vision. Taylor Swift happens to have one of the best teams in the business. What do you think? Check out our review of Taylor Swift: The Eras Tour concert film.

#creative differences #podcast #movie review #taylor swift #taylor swift: the eras tour #taylor's version #fearless #speak now #red #1989 #reputation #lover #folklore #evermore #midnights

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poppletonink · 8 months

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Review: Hits Different

★★★★★ - 5 stars

Following the success of Midnights as an album and amidst The Eras Tour, Taylor Swift released the Til' Dawn Edition of Midnights, including a much-awaited song from The Vault: Hits Different. It's a song that had circulated the internet for months before; short snippets created an instant need to sing and dance, with listeners basking in the relatability of their lyrics. On the 26th May 2023, it was released in full, showing once more that Taylor Swift is a master of her craft (not that this was a fact in question). Despite the happy facade the music creates, the lyrics of Hits Different completely juxtapose the upbeat nature of the song, telling a tale of heartbreak, of driving yourself crazy trying to get over someone. The guitar strings at the beginning of the song are the first indication of the depressing nature of it; still happy in a way but slowed as if something is weighing it down. The bridge, as ever with Taylor's music, is immaculate with "argumentative, antithetical dream girl" being one of the most inventive lyrics of the entire song. Not that this is the only creative lyric, what with the metaphors to describe the pain of heartbreak throughout the song as a whole and the incredibly clever use of double negatives (like "and I never don't cry"). Frankly, Hits Different is the perfect song for an English teacher to dissect - they would truly adore it simply for its use of linguistic techniques. It's the perfect summer song; the perfect dancing song and the perfect song to scream your lungs out to and it's one to add to your playlist without question.

#hits different #midnights mayhem with taylor #midnights era #midnights taylor swift #midnights #the eras tour #music #pop music #music review #music blog #taylor swift review #taylor swift is amazing #taylornation #taylor swift #taylor swizzle #taylor swift hits different

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caffeinationn · 2 years

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you're own your own kid is the equivalent of harry's matilda and you cant tell me otherwise

#midnights album #midnights #taylors version #taylor swift #red taylor’s version #1989 album #reputation #harrys house #harry styles #album review #new album #music #you're on your own kid

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spectrumpulse · 2 years

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#2022 #music #spectrum pulse #album review #taylor swift #indie pop #midnights

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tillidontneedfantasy · 1 year

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A Track-by-Track Breakdown of Taylor Swift’s 10th Studio Album: ‘Midnights’

You would expect by the time a pop star has spent over 15 years in the spotlight that they would run out of steam. But on her 10th studio album, Midnights, Taylor Swift is as energized as ever. Even more impressive, the debut numbers are the biggest of her career yet, landing on a whopping 1.578 million, 1.1 million of those in pure album sales alone. These first week numbers are even larger than that of 1989, which is a huge feat.

Many pieces factor into success like what we’re seeing in this case. One is Swift’s exceptional marketing skills. Her dedicated fans will come out in droves to purchase her art, and the mysterious buzz that centered around the album intrigued the public to tune in. The star’s highly acclaimed releases of folklore (2021’s album of the year) and evermore (a 2022 album of the year nominee) during the pandemic certainly brought in a ton of new fans who perhaps overlooked her sharp lyricism before. But Taylor wants you to know that despite her magical stay in the forest and woodlands, she is in fact still bejeweled, and ready to remind everyone how much her shine still shimmers as a pop titan.

Presented as a loose concept album, Midnights centers on 13 sleepless nights throughout Taylor’s life (plus 7 songs on the “3am edition” that also fit the theme). Surely as she has been re-recording her albums as Taylor’s Versions, old feelings and memories have come to the surface that she is revisiting from a new perspective. Midnights still showcases Swift’s unmatched lyrical ability while taking us on a Jack Antonoff led synth journey.

1. Lavender Haze “All they keep asking me is if I’m gonna be your bride,” Swift laments on the opening track “Lavender Haze.” Which is funny because she spent 2019’s Lover with a bridge of wedding vows and a song about marrying her boyfriend of 6 years now, actor Joe Alwyn, with paper rings. But it is also an astute observation on how the world sees women, as she rejects “the 1950s shit they want from me.” She doesn’t want to follow anyone else’s wishes or timelines, or answer anyone’s questions, she just wants to stay staring at the ceiling with her partner, immersed in the lavender haze (a saying she caught from an episode of Mad Men). She knows that’s where she’s safest, because she’s “damned if I do give a damn what people say.” As an opening track, it delivers sonically and melodically, even in its smaller moments (the little “yeah oh yeah”s in the pre chorus are addictive), it’s a grand number. Best lyric: “I’m damned if I do give a damn what people say.”

2. Maroon The title track of Swift’s project Red is placed at track two. So it’s no surprise that Swift placed a song with red shade as its title in the same spot. “Maroon” details all the little scarlet moments throughout the ups and downs of a relationship, some examples including wine, hickeys, the sky, and rust. The first verse shows the relationship at its peak, “laughing with my feet in your lap, like you were my closest friend,” and the second verse juxtaposes it with its breakdown, “sobbing with your head in your hands, ain’t that the way shit always ends?” The final chorus on the track holds some of Taylor’s most interesting (and sensual) vocal delivery to date, her lower register extremely impressive and underrated. Best lyric: “The rust that grew between telephones.”

3. Anti-Hero Do you remember in 2012 when everyone and their father would make jokes that Taylor Swift should write a song called “Maybe I’m The Problem” as a response to her breakup songs? Well, ten years later, she gave them something very close to what they asked. “It’s me. Hi. I’m the problem, it’s me,” she sings in the chorus of the lead single “Anti-Hero” (though not released prior to the album), which Swift claims to be one of her favorite songs she’s ever written. On folklore and evermore, Taylor sang about mental health struggles without explicitly saying that she was the subject of those songs. However, here, it is clearly autobiographical without question. As a fan, to hear her so blatantly say “my depression” in a song was both jarring and relatable. The track lays out her intrusive thoughts about herself, her maladaptive behaviors, ignoring people or pushing loved ones away instead of letting them in. While she sings “I’ll stare directly at the sun, but never in the mirror,” the song shows how much her music is safe haven for her to sneak a glance at her reflection. Best lyric: “Did you hear my covert narcissism I disguise as altruism, like some kind of congressman?”

4. Snow On The Beach (ft. Lana Del Rey) The dreamy “Snow On The Beach” is a romantic love ballad in which Swift is mesmerized by the fact that the person she wants actually wants her back. She can’t quite believe their love, and she’s afraid if she speaks of it, she’ll find out it was an illusion all along. Throughout Swift’s music, and especially in this song, she uses light to describe her partner, singing “I’ve never seen someone lit from within, blurring out my periphery.” While Lana Del Rey, someone Swift hails as one of her musical idols, mostly singing background vocals might seem like an odd choice, just like seeing snow on the beach, it’s “weird, but fucking beautiful.” Best lyric: “Flying in a dream, stars by the pocketful.”

5. You’re On Your Own, Kid “You’re On Your Own, Kid” is a journey through Swift’s life and career thus far. The song starts by detailing an unrequited love, which leads her to writing songs in her room and playing them in the parking lot, eventually running away and pursuing her dream of becoming a star. And although her dreams aren’t rare, her success surely is. But even at the height of her success, no longer sitting by herself at the lunch table at junior high, she still found herself alone. “I hosted parties and starved my body, like I’d be saved by a perfect kiss / The jokes weren’t funny, I took the money, my friends from home don’t know what to say.” She was degraded by the public and degraded herself. And just as things got better, her life’s work that she put her blood, sweat, and tears into was sold out from under her. But the Taylor’s Versions have been able to give her some solace, “Everything you lose is a step you take.” She ends the song on a hopeful note, reminding herself that she doesn’t have to be afraid; she’s always been on her own and she’s always made it through, and she always will. And the listener can resonate too. We’re all truly on our own at the end of the day, but we’ve gotten this far; we can keep going. Best lyric: “I hosted parties and starved my body, like I’d be saved by a perfect kiss.”

6. Midnight Rain On “Midnight Rain,” Taylor highlights the differences between the life she could’ve had and the life she pursued. “He wanted it comfortable, I wanted that pain / he wanted a bride, I was making my own name,” she (and a distorted voice) sings in the chorus. That life of a small-town girl is far away now, and not one she ever truly wanted, but one she sometimes sneaks a peak at through postcards and time portals and wonders what it might be like. Similar to “Lavender Haze,” this track establishes Swift’s aversion to societal standards, and her embracement of constantly changing and evolving, as evident through her music and career to date. It’s a real catchy ear worm, and after a few listens you really learn to love that voice distortion. Best lyric: “He wanted it comfortable, I wanted that pain.”

7. Question…? While Taylor leaves many hints as to what or who some of her songs might be about, “Question…?” Has one of her most obvious clues to date, as the song starts with a sampling of her song “Out of the Woods” from 1989, a song famously known to be about her relationship with Harry Styles. Not only is there the sample, but also lyrical parallels. “The rest of the world was black and white / but we were in screaming color,” she sings on “Out of the Woods.” On “Question…?” She says, “I don’t remember who I was before you painted all my nights a color I’ve searched for since.” One could assume while going back and rerecording 1989, she may have reflected on the relationship, with questions popping up. While it seems as if Swift knows the answers to these questions already, she still wants to ask them and get the confirmation and closure she’s searching for, a very relatable feeling. Just like in life, though, she doesn’t get any explicit answers in the song, but maybe she doesn’t need them anymore, anyway. Best lyric: “Does it feel like everything’s just like second best after that meteor strike?”

8. Vigilante Shit When listing the things that kept Taylor up at night, serving as inspiration for this album, one thing she cites is plotting revenge. In the revenge fantasy “Vigilante Shit,” Swift tips off the FBI about her enemy (presumably Sc**ter Br**n) and his “white collar crimes,” and assists his ex-wife in winning their divorce. “I don’t start shit, but I can tell you how it ends,” she croons. Which, historically, is true. Swift has rarely been the instigator of a feud or fight, but when she’s targeted, she comes back on top every time. After all, karma is her boyfriend. Best lyric: “Ladies always rise above, ladies know what people want / someone sweet, and kind, and fun / the lady simply had enough.”

9. Bejeweled “Bejeweled” is an exciting and fun pop song about letting go of the people and things that drag you down and allowing yourself to shimmer again. We can surmise that “Bejeweled” represents a night during a dead-end relationship where she finally prioritized herself again and learned she can still shine on her own right. In a radio interview, Swift said that “Bejeweled” mirrored her re-entrance into the pop landscape after her folk escapades, and that she had to pump herself back up into believing that she could still do it. The track itself proves that Swift stills rules without competition. Best lyric: “And when I meet the band, they ask, ‘Do you have a man?’ I could still say, ‘I don’t remember.’”

10. Labyrinth One of the few ballads on the standard edition, “Labyrinth” tracks Taylor’s thought process as she realizes she’s falling in love again, despite all of her fears after being burned in the past. She laments her pain and acknowledges her worries. The progression from “uh oh,” to “oh no,” to “oh,” before the line “I’m falling in love,” shows her trepidation turned to acceptance, due to the length’s this person would go to just to make her smile. While there are some synth sounds that seem slightly out of place, overall it is a song anyone who is learning to open up their hearts after being hurt can relate to. Best lyric: “Break up, break free, break through, break down.”

11. Karma “Ask me why so many fade, but I’m still here,” she sings on “Karma.” The answer? One could be her incredible talent and hard work ethic. But an additional answer is because her and karma vibe like that. In this catchy pop hit, Taylor reaps the rewards of staying true to who she is while karma takes down her enemies who never keep their side of the street clean. She knows karma is on her side, and she can relax trusting that it’ll do its thing. And so far, it has served her well. In the most Taylor Swift™ fashion of all time, she compares karma to a cat purring in her lap because it loves her. And it is! It does! Best lyric: “Karma’s a relaxing thought / aren’t you envious that for you it’s not?”

12. Sweet Nothing Co-penned by William Bowery aka Joe Alwyn, “Sweet Nothing” is a love song from Swift to Alwyn. She discusses all the negative things going on around her and the way people push and shove to get a piece of her, while her partner is just in the kitchen humming, asking nothing of her, just loving her as she is. We get a brief peak into their dynamic in the truly sweet lyric, “On the way home, I wrote a poem / you say, ‘what a mind,’ this happens all the time.” To be loved for your mind rather than your status is a gift for someone like Swift. I’m sure the poems are lovely. Best lyric: “Outside, they’re push and shoving, you’re in the kitchen humming / all that you ever wanted from me was sweet nothing.”

13. Mastermind A word that has been weaponized against Taylor over the years is “calculated.” On “Mastermind,” the standard edition’s closing track, she owns the claim, singing, “I’m only cryptic and Machiavellian cuz I care.” “Mastermind” is Taylor’s confession to her partner that she masterminded their entire relationship from the first night he saw her. She confides in him in one of her most personal lyrics yet, singing, “No one wanted to play with me as a little kid / so I've been scheming like a criminal ever since / to make them love me and make it seem effortless.” She thought no one could love her unless she tricked them into it. But upon her confession, his smile proves her wrong, because he knew the entire time that she thought she was masterminding their relationship, but in reality he went along with it because he wanted her too, schemes and all. She finally found her effortless love. Best lyric: “No one wanted to play with me as a little kid / so I've been scheming like a criminal ever since / to make them love me and make it seem effortless.”

3am Tracks

14. The Great War On the first 3am track, Taylor teams back up with her other folklore & evermore collaborator, Aaron Dessner of The National. “The Great War” seems to be about a fight in a relationship, and Swift’s difficulty bouncing back from it. She lays out her lack of trust from past relationships and how that has interfered with reconciliation efforts, as she sings, “And maybe it’s the past that’s talking, screaming from a crypt / telling me to punish you for things you never did.” But despite some of these maladaptive behaviors, her partner still reached for her hand, trying to make things right. And they did it, they survived, and that survival brought back her faith. Best lyric: “You drew up some good faith treaties / I drew curtains closed, drank my poison all alone.”

15. Bigger Than The Whole Sky “Bigger Than The Whole Sky” is a song about loss. Although the loss of exactly what is unclear, the grief is palpable. She searches for what might have caused such a tragedy, wondering if she was at fault. There are so many questions in grief to which we never receive answers. This song has resonated with many fans online, relating it to their own personal experiences of miscarriages, deaths, and pet losses. Best lyric: “Every single thing I touch becomes sick with sadness.”

16. Paris In this fun pop song, Taylor compares the view of her partner to that of the city of Paris. She’s so in love that she might stop breathing, that she doesn't care about her friends’ gossip or what’s on the news. She’s transported into a world of romance where nothing else matters, where alleyways appear and cheap wine tastes like champagne. It’s the excitement of completely falling into someone as the rest of the world fades away. Best lyric: “I wanna brainwash you into loving me forever.”

17. High Infidelity “High Infidelity” is an intriguing track, produced by Aaron Dessner, about the end of an unhappy relationship. We can presume that she is referring to her ex, the DJ known as Calvin Harris, her previous long-term boyfriend before meeting her current partner, with lyrics like “put on your records and regret me” and “put on your headphones and burn my city.” In the song, Swift is implying that there was some type of infidelity, whether physical or emotional only is not quite clear, but either way she admits, “I bent the truth too far tonight,” and asks, “do I really have to tell you how he brought me back to life?” But she didn’t think it would matter much to him, and is surprised by his sense of betrayal and hurt, but not particularly remorseful. Best lyric: “You know there’s many different ways that you can kill the one you love / the slowest way is never loving them enough.”

18. Glitch Another Antonoff produced track written alongside Sam Dew and Mark Anthony Spears, “Glitch,” is one of the sexier tracks on the album. The concept is that Taylor can’t quite fathom how this love of hers has worked out for 2,190 days (that’s 6 years, if you didn’t know) and counting when all she’s been used to is situation-ships and dudes who give nothing. So if it’s lasted this long, it’s gotta be a glitch in the system, right? Best lyric: “And I’m not even sorry / nights are so starry, blood moonlit.”

19. Would’ve Could’ve Should’ve While “Would’ve, Could’ve, Should’ve” is arguably one of the best tracks on all of Midnights, everything Swift does is for a reason. When you listen to the song, it becomes quite evident why she put it at track 19. “And I damn sure never would’ve danced with the devil at 19,” she sings. As an avid fan, you immediately hear the echoing of the best song on her third album Speak Now, “Dear John,” which has the lyric, “don’t you think 19’s too young to be played by your dark twisted games when I loved you so?” And it becomes clear what she’s discussing: the power dynamic in her relationship when she was 19 with John Mayer, who was 32 at the time (Swift’s current age). One could assume rerecording Speak Now (which Swift has highly hinted at being the next rerelease) brought up some old feelings. “Would’ve, Could’ve, Should’ve,” is a powerful track filled with intense regret. She describes him as a “promising grown man,” putting a spin on the monicker often given in defense of younger men who abuse women. She likens the relationship to religion: “you’re a crisis of my faith,” “all I used to do was pray,” “gone along with the righteous.” This was a man that she idolized, and the fall from his pedestal crushed her in irreparable ways. “Give me back my girlhood, it was mine first,” she pleads with a heart wrenching ache in her voice. It’s hard to listen to this song without feeling pain for her, especially as she ups the octave for the outro, making the regret feel more urgent, more palpable. Best lyric: “God rest my soul, I miss who I used to be / the tomb won’t close, stained-glass windows in my mind / I regret you all the time.”

20. Dear Reader The 3am edition closing track is “Dear Reader,” a letter to her listeners. She gives advice about avoiding traps, starting over, keeping secrets, and aiming for the devil. But she also gives the caveat, “Never take advice from someone who’s falling apart,” supposedly referring to herself. But the best advice comes from those who have fallen, who have experience, who feel a range of emotions quite like Swift does. That’s why she is so popular; because people can relate to her words and they keep them close to their hearts. “You should find another guiding light,” she suggests. But this sign can’t stop me because I can’t read! Best lyric: “You don’t have to answer just cuz they asked you.”

Target Deluxe Edition

Hits Different The Target Deluxe Edition exclusive song “Hits Different” marks the return of Swift, Dessner, and Antonoff all together. The song feels very vintage Swift, almost like it could’ve been a recent “From The Vault” track. “Hits Different” is about a breakup that is much harder to get over than any other she’s experienced. She hears their song everywhere, she stops receiving invitations because she can’t stop slurring his name when she’s out with friends, she cries over a hat. She’s so far gone in this breakup that she thinks people are coming to take her away. Anyone who has experienced a tough breakup could probably find a lyric in this song to which they can relate. But even without being able to relate, it’s a fun, funny, enjoyable track served as a nice treat for loyal fans who actually go out and buy CDs these days. Best lyric: “I pictured you with other girls, in love / then threw up on the street.”

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In conclusion, 16 years into her career, you best believe Taylor Swift is definitely still bejeweled, and on Midnights she shimmers more than she ever has, even when touching on long-gone relationships and peering into old wounds, being more vulnerable than she has on projects past. Each album and era seems like her peak, yet she continues to outdo herself in multiple ways. With more Taylor’s Versions on the horizon, hopefully Swift will continue to gain inspiration in various ways as a result of revisiting her old work. But if she doesn’t, we know she’s always got some tricks up her sleeve.

DISCLAIMER - REVIEWER’S BIAS: Taylor Swift is the mother I never had, she is the sister everybody would want, she is the friend that everybody deserves. I don’t know a better person.

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