Life’s too short to pretend Taylor Swift is (still!) a guilty pleasure for some people. Ever since I met her (metaphorically speaking, of course), probably 12 years ago, I used to think she’s just a harmless pop princess, the one that won’t go awry with bad habits, drugs and alcohol.
Little did I know, she would embark on a journey in the spotlight to try and defend herself in very gruelling situations, some of which no one could ever think of before the internet. Heavily scrutinized because of her dating life and her (supposed) inspiration from her relationships, I think she was always assumed to be the whiney, mean girl, always playing the victim and yelling “wolf” when things didn’t go her way.
I also realised she’s a crafty wordsmith, with interesting ideas in terms of artistic expression, so she moved from ‘unphased pleasure’ to ‘fun pleasure’, ‘quirky moments’, and, in later years, ‘pop icon’ status.
On 24th July 2020, Miss Taylor Alison Swift has released her 8th album, and oh boy… where do I start?!
Nothing like her previous albums, but effectively smelling, tasting and feeling exactly like Swift’s poetry, which in itself is a phenomenon in her field, folklore manages to gather around her lyrics the faint feeling of love you’re feeling in the pouring rain, when you’re walking barefoot in the forest, when you’re dreaming under the stars, and when you’re remembering things from centuries ago, without the added weight of anxiety and shame. Shameful to say, but I wouldn’t know what to do if I had Swift’s ability to write poetry in such a natural way.
Because we’re talking about Taylor Swift, the track list is an Easter Egg on its own. Starting with the 1, the album sets the tone for this new Swiftian era. the 1 is that story you wish you’d share with an ex love that you always thought it would be the one who got away. Starting from a more mature point, past her usual pettiness, Swift masterful word crafting gets her towards imagines of the ‘roaring 20s’ and penny tossing, reminiscing about someone who could’ve been fun for her. Given her current situation, I’d say this is just a revisit with nostalgia glasses, pondering what could’ve been if only one thing would be different. The song itself is a different beast from Taylor Swift’s catalogue, having some electronic accents, on top of a trickling piano and with minimal percussion. The whole song feels like summer afternoon in a small town, somewhere in the mountains, and I am so happy in a very calm way about it.
But we were something, don’t you think so? Roaring twenties, tossing pennies in the pool And if my wishes came true It would’ve been you In my defense, I have none For never leaving well enough alone But it would’ve been fun If you would’ve been the one
Next song, cardigan, sees Swift putting on her folk/soft rock jacket on. This piano ballad is again filled with literary references, because Taylor Swift likes to poke fun at herself, and her army of dedicated fans. The song talks about young, innocent love, plagued by battle scars, lack of confidence and bitterness. cardigan is the lead single, and it does a good job in setting the expectations high for this new work of art. It’s also worth noting that this is part of the ‘young love trio’, along with august and betty.
And when I felt like I was an old cardigan under someone’s bed You put me on and said I was your favourite A friend to all is a friend to none Chase two girls, lose the one When you are young, they assume you know nothing
the last great american dynasty lets Swift borrow from urban legends on a pop track. Here we see Swift telling the story Rebekah Harkness, the woman previously owned Taylor Swift’s home in Rhode Island. Because this album is supposed to be a collection of stories, more or less based on reality, we witness Swift’s talent in full glory – building stories from nothing, and romanticizing them and making them work to her favour. Although not a favourite song of mine, the song has a certain appeal, especially because of the brazenness of the lyrics.
There goes the most shameless woman this town has ever seen She had a marvellous time ruining everything
Bon Iver is a guest on the fourth track, exile, and I think there are very few people who can actually deny the greatness of this music dialogue. Adding Justin Vernon’s deep baritone next to Swift’s breathy vocals proves to be a very successful mix, and drawing comparisons to The Last Time, from Taylor Swift’s Red album. The song is imagined as a dialogue between two exes, but no one seems to be listening. Over the piano and the dramatic strings, the vocals manage to create to such a build-up, taking the song to a different plane.
All this time I never learned to read your mind (Never learned to read my mind) I couldn’t turn things around (You never turned things around) ‘Cause you never gave a warning sign (I gave so many signs) So many signs So many signs (You didn’t even see the signs)
As fan favourites go, the 5th track of a Taylor Swift album is usually the best song off the album. My personal favourite, my tears ricochet, is a hauntingly beautiful song mourning a past relationship. The POV of the story is that of a deceased lover, reflecting on the toxicity and tension. The funeral imagery of the lyrics, on top of the instrumentals, give the song the gravitas to carry the message home. And if it’s to be believed, this is a message to be delivered to Swift’s former record label. And even if it’s not, I can guess we can all rely on the lyrics in various situations.
We gather stones Never knowing what they’ll mean Some to throw Some to make a diamond ring You know I didn’t want to Have to haunt you But what a ghostly scene You wear the same jewels That I gave you As you bury me
I didn’t have it in myself to go with grace And so the battleships will sink beneath the waves You had to kill me, but it killed you just the same Cursing my name Wishing I stayed You turned into your worst fears And you’re tossing out blame Drunk on this pain Crossing out the good years And you’re cursing my name Wishing I stayed Look at how my tears ricochet
mirrorball talks about being a reflection of others, rather than being yourself, and damn, isn’t that sometimes the truth. This confession is scary and dangerous, as Swift’s music was oftentimes scrutinized by the media due to the personal nature of her lyrics, when all she wanted was to be relatable and to be able to give her fans honesty and a deep connection.
I want you to know I’m a mirrorball I’ll show you every version of yourself tonight I’ll get you out on the floor Shimmering beautiful And when I break it’s in a million pieces
Reminiscing about a childhood friend, seven is the – you guessed it, 7th track. Packed with queer hints, the story unfolds about two friends who enjoyed their time together, but with one of them living in a possible abusive home, the dark tones of the song cannot be missed. Still revelling in the innocence of kids at 7 years old, when you’d dream you can go anywhere, seven captures that freedom of being who you are when you’re still young and not yet moulded into a useful member of the society.
And I’ve been meaning to tell you I think your house is haunted Your dad is always mad and that must be why And I think you should come live with Me and we can be pirates Then you won’t have to cry Or hide in the closet And just like a folk song Our love will be passed on
The eighth song had to have Swift poking fun again, because the track is called august. Tasting like summer, this pop rock ballad evokes young love again, with a hint of sadness. Singing about love you can never attain, and yet being so intertwined with feelings of belonging to someone who doesn’t belong to you. It’s Swift poetry, and Swift guitar, and Swift anguish, and it should be trademarked. Also, it’s part of the ‘young love trio’, with cardigan and betty.
‘Cause you were never mine Never mine Do you remember? Remember when I pulled up And said „Get in the car” And then cancelled my plans Just in case you’d call Back when I was living for the hope of it all For the hope of it all „Meet me behind the mall”
this is me trying reveals even darker moments, talking about feeling alone when it becomes too difficult to cope with the insane standards you put for yourself, struggling with mental illness, alcoholism. Probably the most insane lyrics belong to this song – I was so ahead of the curve, the curve became a sphere.
They told me all of my cages were mental So I got wasted like all my potential And my words shoot to kill when I’m mad I have a lot of regrets about that I was so ahead of the curve, the curve became a sphere Fell behind all my classmates and I ended up here Pourin’ out my heart to a stranger But I didn’t pour the whiskey
illicit affairs is another favourite of mine, its subject so simple, yet such a compelling study material. Finally we see Swift becoming more mature, more understanding to the prospect of a trio, not pointing blame on the third person anymore, but rather trying to be understanding and empathetic.
And that’s the thing about illicit affairs And clandestine meetings And stolen stares They show their truth one single time But they lie and they lie and they lie …a million little times
In a very innocent switch to the more romantic side of things, invisible string is a verbal painting of Swift’s current relationship, and includes references to past life, songs and places. Built on an acoustic guitar, the song is a very childlike, candid glimpse of Swift’s current universe.
Time Mystical time Cutting me open, then healing me fine Were there clues I didn’t see? And isn’t it just so pretty to think All along there was some Invisible string Tying you to me?
Sarcastic Taylor is at it again, with mad woman. Bringing back the torches and lighting them and going against the ones who come after her, Swift brings fire over the piano keys in the gentlest way possible. Aimed at her old record label, this song is her fight song against the people she feels wronged by.
Now I breathe flames each time I talk My cannons all firing at your yacht They say „move on” But you know I won’t And women like hunting witches, too Doing your dirtiest work for you It’s obvious that wanting me dead has really brought you two together
And because Taylor Swift isn’t here to sing only about old boyfriends, current boyfriends and her old label, epiphany exists. Paralleling World War II atrocities with the COVID-19 pandemic, her lyrics speak about the trauma of trying to fight on the front, be it invisible or not. Trying to explain how difficult it is to continue serving after fighting death day after day, epiphany sounds more like a hymn than anything.
Crawling up the beaches now
Sir, I think he’s bleedin’ out
And some things you just can’t speak about
Coming back to young love, betty is folksy track based on a harmonica, with a pretty upbeat rhythm, but continuing the cardigan-august story. Probably the least creative of the three, or maybe because of that, betty sounds like a song that Bruce Springsteen himself could sing, and I’m not sure that’s too bad.
You heard the rumours from Inez You can’t believe a word she says Most times, but this time it was true The worst thing that I ever did Was what I did to you
An ode to her current love, peace sees Swift confessing her vulnerability in front of her loved one, and her fear that sometimes her love is not enough. Despite her being such a high-profile celebrity, Swift manages to keep her love under wraps, and as normal as possible, but also worries about not being able to give her boyfriend the normality they both crave.
But I’m a fire and I’ll keep your brittle heart warm If your cascade ocean wave blues come All these people think love’s for show But I would die for you in secret The devil’s in the details But you got a friend in me Would it be enough If I could never give you peace?
Easily forgotten, hoax tells the story of a toxic relationship, where the resolution is to keep whatever unhappiness you have rather than start anew. Not necessarily my preferred method, but hey. When I’ll write better music, I’ll let you know.
My only one My kingdom come undone My broken drum You have beaten my heart
Don’t want no other shade of blue But you No other sadness in the world would do