This blog focuses on music from smaller, independent artists – but sometimes there are big releases which deserve attention, too. Taylor Swift is an artist who's hard to ignore, and I don't want to ignore her because I've really enjoyed lots of her music in the past. So when 'The Tortured Poets Department' finally dropped last Friday, I found myself writing a track-by-track reaction post. As you'll see, this means a partial departure from my usual Music Observer golden rule: I only write about music I love.
(There are countless other reviews of the album; ones I think are particularly worth reading are those on Pitchfork, CLASH and The Guardian.)
Part 1
1. Fortnight feat. Post Malone - Great synth vibes, although a bit like 'Last Christmas' (is that necessarily bad though?). I like this chilled way of starting a massive double album like this. With so much ahead, it feels like TS is pacing herself. There's no real chorus or build - an interesting structure.
2. The Tortured Poets Department - The title track already! More synths, beautifully layered and shimmery, plenty of self-harmonies, drums deep in the background; more typical TS exploring her range, low then high bursts. Lyrics are a bit unfortunate at times though. I literally laughed out loud at the "tatooed golden retriever" line, although I knew it was coming, and then the bit about the ring ("put it on the one people put wedding rings on"). This is rather clumsy, stream of consciousness. The whole thing is very TS, in both the best and worst ways. You hear parodies or comparisons, but actually nothing compares when you hear an actual new TS song.
3. My Boy Only Breaks His Favorite Toys - Oops this one seemed to pass me by - not remarkable, although more energetic.
4. Down Bad - Interesting warbling, wavy, pulsing synths - sounds bitter and vengeful, reflective and edgy.
5. So Long, London - Oh my gosh that multi-layered, harmony in the intro — what are we trying to do? Sounds a little twee/experimental. The main vocal is very lonely and clear … like many of these songs, close your eyes and you can imagine TS standing singing in a huge dark void — despite the warm synths, there's a certain starkness.
6. But Daddy I Love Him - Wow, it really opens up now — the drums push up, stronger. This is good, particularly after that long, quiet start. That means you can better ignore some of the lyrical weaknesses. I love that mini-build into each chorus, and then the high, strong "I" at the start of the lines. This is really good, it’s classic TS. She's not holding back here. I’m feeling much more positive about the album now.
7. Fresh Out the Slammer - Still going strong, a little more restrained though.
8. Florida!!! feat. Florence + The Machine - TS's voice takes on an edge. Some really honest lyrics here, coming of age and wrestling with all that. Woah - the "Florida" kicker, then drums pound. Florence’s vocals sound good set off again TS's smoother ones. Later they just seem to be vibing together.
9. Guilty as Sin? - TS sounds released and refreshed now. I like the long, long builds into the chorus drops. "Am I allowed to cry?" is the parting shot. A bit too earnest perhaps?
10. Who's Afraid of Little Old Me? - Pulsing, but not grabbing me. I like it, I do. But it's not a standout, despite the big vocals at times "Who's afraiiiiid!" ... "well you should be". Doesn't sound very convincing. Is she just trying to convince herself? It’s a bit lacklustre … you can really feel what she's trying to do, perhaps it’s all a bit too obvious. "But what if" blah blah.
11. I Can Fix Him (No Really I Can) - Almost too American for all tastes. This ends with a realisation but it also all feels like a bit of a waste of time, and I can’t help feeling she should know better by now.
12. loml - Nice piano. But a bit draggy. "Loss of my life" is the twist to the cryptic title, but to be fair it’s not that surprising really.
13. I Can Do It With a Broken Heart - Ah, now this is the one about her fame etc. Some very weird live sounds in the background. A male voice with the “1-2-3-4”. It gets a bit annoying. Nice arpeggios though. But a bit chaotic. That all gets in the way of the song itself. Lyrically it’s a bit rhymy. I’m finding it hard to feel sorry for her, but I really want to.
14. The Smallest Man Who Ever Lived - Now, this is very harsh and belittling. It’s quite honest, and I’m here for that, but it does feel a little like over-blowing a bad relationship. All very dramatic, talking about guns, comparing this to national security issues! I get that there’s pain but if he's so small, why waste a whole song on him? A nice long long build. Ending on the low-end of her range.
15. The Alchemy - Where is this one going? It's epic and triumphal. And clearly about true love. But there’s also lots of sporty imagery which I personally can't relate to.
16. Clara Bow - "You look like Taylor Swift in this light" - breaking the wall there, this is enjoyably self-deprecating. It’s veering back to old-fashioned TS song-writing, telling a story, creating a character in order to express certain things. This is a better song, and stands out a bit. I realise though that out of 16 songs, only a small handful have been memorable. My feeling at this point is this could have been shorter, perhaps 12 or 13 tracks, without losing much.
Part 2 (The Anthology)
Photo: Paolo V (CC licence)
17. The Black Dog - Is this a reference to depression? No, it seems to be the name of a bar. [I later found out that fans have been flocking to a London pub of that name, as that supposedly is the subject matter.] This one is quite low energy. There’s a slightly dry production quality to the vocals — close and not reverbed. In contrast to other songs, this gives it a more raw feel. But then as the song goes on, we get more and more layers and intensity added in. Overall this feels like a nice package. But I'm getting tired now … a bit fatigued. I really need a shot of energy.
18. imgonnagetyouback - I've had it thanks to this song! There's quite a contrast here: a synthy start, 80s drums, reference to a short skirt and more bar references to add to the TS canon. A nice minimal feel with the floating vocals hovering over those jittery synths and beats, back to that ethereal feel. It’s enjoyable, holding you back in suspense; TS is controlling the listener, not quite allowing a full-on rave-along.
22. So High School - Emo vibes, sweeping, euphoric, sounds very different. I wouldn't think this was TS for the first minute really. The call and response section is cool. There's a nice, building feel throughout the whole song. I love it. It's one of my favourites from the whole double record and I wish there was more in this vein.
23. I Hate It Here - The energy drops down again with a sense of introspection and reflection. Acoustic guitar, piano, reverby production. I like the fact the song doesn't have a climax, or a V-C-V feel – it just flows on. But those lyrics about choosing a decade ... that's painfully embarrassing tbh. Again lyrics spoiling the music.
25. I Look in People's Windows - A minimal song, a bit thin, confessing to looking in people windows. Smacks of desperation? Throwaway / filler song.
26. The Prophecy - We continue in a muted and fairly minimal vein, but it fills a bit, gets depth and warmth very gradually. It's soothing. Maybe a bit self-consciously feminine. It's a nice song, and the strings add another nice layer. It sounds expensive. A nice song, but in this section of quieter, low-energy tracks it rather takes the wind out of the sails.
27. Cassandra - Piano based. Stripped back. "They say what doesn't kill you makes you aware" - but "they" don't say that do they? Again a nice song, peaceful, in contrast to the quite fierce lyrics at times. But, ditto: rather flat and I feel again that I really need a shot in the arm – something to wake me up. TS does, too.
28. Peter - It won't be from this song! Starts with an ambient background synth pad then piano, which feels like a continuation of the one before ... I drifted away a bit ... but it goes on, a monologue, stream of consciousness. Not remarkable.
29. The Bolter - A similar start with ambient synth, then acoustic guitar based, strummy, with the same sense of a constant flow, a stream. An intriguing story that pulls you in at the beginning - a nice bit of character creation. Again an occasional sense of stumbling with lyrics. Clumsy. The use of F-word – why? It's nicely building. There's a shuffly synth, then strings enter the mix ... We've got about a minute left, and I really hope this absolutely peaks and explodes! A pause – and then ... hmm a slightly lacklustre entry into the chorus. Why? Where's the energy Taylor? She seems drained. Perhaps that's the long message here. She's tired, and this is a bit of a parting shot ..?!
30. Robin - Again, muted and nice, with a lovely feel. I like the muted electric guitar noodling which occasionally comes through and emerges from the mix. All very nice. But it feels like the past few songs are all one long one. Not much variety now.
31. The Manuscript - Here TS is painfully obviously straying to create drama and the sense of some timeless, magical song. I'm sure this will move some to tears. It is sparkling. But it also really gives me the ick - strollers, French press, kids cereals, "dart boards on the backs of their doors". A bit too obvious and modern poetic. Again there's a sense of a very subtle, well judged build. But now I just know it won't go anywhere ultimately :-( Only 30 seconds to go and it looks like that will be it. Perhaps the strategy is to make people want more. But I'm sticking with my first analysis. It leaves me with an overwhelming sense of sadness, waste, loneliness. TS walking off, down a studio corridor, lights going out, surrounded by people telling her how brilliant this all is. But ultimately alone.