Will Ferrell and Rachel Dratch sat in a hot tub on "Saturday Night Live" and stole the Sobriquet "love-ah" from the lexicon of acceptable terms of tenderness – and Taylor Swift grabs the oily waters and steal it back. The word does not sound tempting on her lips as she repeats it in the gentle, waltz-era title track of "Lover," her seventh album. The song "Lover", released as a single a few weeks before the rest of the collection, is a blatantly winning mash note that is an effective calling card for the clever sweetness of the entire project – a warmth that would not seem so bold if this set had no direct success with "Reputation" of 201
At the very end of this 18-song album about the final, fading synth-iness of the final ballad "daylight", swift loudly pronounces her overriding theme: "I want I let myself be defined by the things I love, "she says," not the things I hate, not the things I'm afraid of the things that haunt me in the middle of the night. I think that you are what you love. "That's all well and good and waking up, but just as Bruce Banner once warned us that we do not like him when he's angry, is it possible we do not like Taylor Swift when she's not?
When "Reputation" appeared about two years ago, Swift was in her love life for the first time in a lingering and contented place that some jokers had predicted would be doomed to failure for such a diaristic songwriter. But in a twist of fate, she had something that made her even crazier than just being in love, when a pair of forces standing on a slanted stage brought a wide world of trolls to her head. She became more angry and repressed her image as America's darling on the insane base, "I've done something bad," in which Evil Tay strangely seemed more endearing than ever. But there is only a fraction of "Kanye content," if you will, on this new album, as disconnect songs move farther into the distance. In the meantime, there's the blessed, mathematically specific status update included in the title track: "I've loved you three summers now, darling, but I want them all."
Happy anniversary then … but where are you! the dramatic tension? in that may ask you, dear reader and lover of Dear John Letters?
Fortunately, Swift knows her William Faulkner – at least instinctively, if not literally – and so the explanation of the great author that "the past is never dead; It has not even passed. "Even though the romantic daydreams keep popping up, she can always remember how exhausted things were in previous situations, and how worried she is. To do something this time again – and this little war between the doubts of the past and the present happiness adds subtle lyrical shades to what's for the most part a big pop chewing gum explosion to a record. It's an album with lots of foam, but weighted foam – both her most mature and her most fun collection.
Sometimes this self-confidence brings with it a laugh: "Swearing to be overdramatic and true," she sings with a wink as part of the pseudo-vows of the title song. But when she dives deeper into old fears, as she does in the slow "with or without you" structure of "The Archer," the inventory is astonishing and sober: "All my enemies have made friends," she warns Begin of pleading: "Help me to hold you." At dawn, she confesses, "My love was as cruel as the cities I lived in. There are so many lines I have. Daylight is a finale. This is reminiscent of "Clean," the epilogue of "1989," except that today Swift is more concerned with purifying ones own sins than others.
] After finding that singer and songwriter reflection is still an integral part of Swift's brand, it is hard to overstate how much "lover" is marked by a blatant exuberance that the singer rarely allows Has. The mood set right at the beginning with "I forgot that you existed", which is the only real point on the continuum with the Kanye Gate themes that caused much of the "reputation". It's essentially part two of the album "This Is" Why We Can not Have Nice Things, "with finger snaps leading to a rhythm beat" Every day I write the book "while Swift announces that she's leveled out against her famous antagonist "Indifference" has reached. It could be argued that she protests too much by dedicating a song to the theme, but it is a kick to get a repeat of her brutal side, channeled as nonchalance – and if it's meant to be microexorcism, it works: all The remaining defensive "reputation" fades as the album sinks into open-minded self-care and triennial swarms.
The playfulness takes a romantic turn in the two most carefree and irresistible bangers. "Paper Rings," the second title in the album, "Marriage" (hmm), benefits from a rhythm based on rockabilly, believe it or not. "I think he knows" is now a delicious bit of Prince Lite – at least the sound of her falsetto against some deep bass and a stroke of some of us is taking – with a cockiness that deserves the man himself: "He is so obsessed with me, and boy, I understand! "There is another moment of self-esteem in which she adds with pale eyes," It's as if I'm 17, no one understands "- and underlining in those dizzy moments at least It almost sounds more like a teenager than she did in her days as a guitarist.
The absence of longtime producer Max Martin and Shellback of the credits on this album was a matter of concern, but another returning producer, Jack Antonoff, and some Newcomers, Joel Little and the pairing of Frank Dukes and Louis Bell, are up to the earwig task, especially Antonoff is a quirky top 40 food specialist Equally equal to "Paper Rings" and "I Think He Knows" is "Cruel Summer", co-written by vocal background voices from another client, St. Vincent, and even sounds like a big hit of the 80s if it does not really is a Bananarama cover. This is one of the few breakup memory songs. Swift returns to his present grin with "London Boy", in which a sampled intro by Idris Elba talks about his scooter leading to a horny celebration of Anglophilia with more than a little autobiographical content.
The British place names in "London Boy" are called so fast that it is impossible to come without a text sheet, a map or a not so normal Joe as a tour guide. There is also a sense of space in other songs, less than in English, but enough to anchor the places and feelings of the fans in reality. In "I Think He Knows," she skips "16th Avenue," suggesting that Nashville's Music Row still has a place in her heart, if not her sound. "Cornelia Street" becomes really specific – in the apartment in New York, she and her lover shared her first "holy" memories and also one or two interim moments as she movingly describes her packing her bags and going to one of the apartments' tunnels from Manhattan before a call whirled them around. Later, in the vibeiesten track of the record, the neo-soul "False God", in which Swift decides to share the room with a minimalist saxophone (more of it please), place and personality become one: "You are the West Village – you still do it for me, "she explains.
Swift finds some things in "Lover" that he can get angry about; They are just not guys. A good portion of the album is intended for statement songs, some of which are played for fun and such as the GLAAD-happy, homophobic bait "You Need to Calm Down." An even more deceptive The uptempo melody "The Man" deals with how women suffer from the double standard of sexism when their power moves make them "a bitch and not a fighter". If she was a guy, Swift says, "I would be complex, I would be cool. / I say I played on the field before I found someone to sign up for. / And that would be alright for me / Anyone Conquest I made would make me a boss for you / I would be a fearless leader I would be an alpha guy / If everyone believes you, what's that? (This comes during a week in which the music world believes that she wants to do more than just complain when she feels uncomfortable, as she establishes her vow to catalog her in response to having her master shots
For electronics and all sorts of fun, there is the honest tearjackers "Say You Get Better", in which Swift is accompanied by Dixie Chicks in vocals, banjo and violin while she explores the praying panic of having a loved one enduring and sometimes hopeless medical grief, certainly a reflection of her own shock when her mother went through the cancer treatment. The title of the record takes on a broader meaning there: No one has greater love than he or she, who spends endless nights in waiting rooms or sleeps on hospital floors.
Strong as this dejected highlight is, there is something equally eye-catching about "Miss Americana and the Heartbreak Prince," the most political song of the album. You may not immediately recognize it as such because the song disguises its social message in a deep metaphor. But while the high school milieu of the lyrics initially makes the song seem like a dystopian sequel to "You Belong With Me," making the same mistake when adding lines like "American Story Burning Before Me / I" arrives. I feel helpless / The girls are depressed / Boys are boys then / Where are the wise men? "The song of a cheerleader troupe is even pumped into the minor refrains, but it is clear that she sings about her disillusionment as a young American woman Patriot, who can not be so proud when he swings the school colors. When she turned out to be a gay rights activist and gender equality lawyer earlier this year, disappointment was felt at the rally, and "Miss Americana" shows that the argument was not an isolated one. Here Swift has found a really readable ex: the naive spirit of national optimism.
These medical and political malignancies emerge on an otherwise luscious album just as a cameo appearance now more than ever, and why she's trying on public at ballads like "Afterglow" and "Daylight" to find out how to use love as a scalpel and not used as a truncheon. She intends to use the album title to think of indigo-eyed objects of desire, but she's just old and wise enough to even think of "lover" as a job title. This album also gives something to love : Event Pop, where the sharing of emotions on a large scale is the richest part of the blockbuster event.
Producers: Jack Antonoff, Joel Little, Frank Dukes and Louis Bell. Recommended Guests: Brendon Urie, The Dixie Chicks