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At the moment "it's nice to have a friend" comes the Lover, her seventh and most epic album, Taylor Swift entered unknown territory. First of all, this is the 17th song here, and none of his previous albums lasted more than 16 tracks. (Lover contains 18). Most importantly, there is no question of being 16 or 22 years old, or even his not insignificant age of 29, but rather six or seven years and returning from school to home: "J & # 39; I lost my gloves / You give me one / you want to go out? / It looks funny. "There is no rhythm, no banjo, no metaphors or coded messages. Instead, there are deconstructed steel drum, horn, and cooing voices – Animal Collective, as interpreted by current hip-hop-savvy pop-producers, Louis Bell and Frank Dukes, the co-authors of the song. It's like the end of 2001: The Space Odyssey, where a long turbulent journey through outer space (and, of course, interior) results in the sudden appearance of a planet-sized fetus. For two and a half minutes, Swift regresses before the drama and sorrow that she has cataloged since her teenage years to snuggle into a strange little pocket of beauty.
Swift has always been vulnerable, of course. And just as obviously, this vulnerability has been its strength. Since Madonna's creation, female pop stars are constantly being reinvented for fear of aging – an impossible standard that has upset Swift's contemporaries like Lady Gaga and Katy Perry. By sharing her real feelings about the relationships reported by the tabloids – and paralyzing all Internet judgments about these feelings – Swift has opened a space for Ariana Grande so she can address herself directly to Sean, Pete and Malcolm on "Thank U, Next" (name a glorious example). When Swift became popular, it was not so much a transformation as the annexation of a new territory. Great may have found something here too, with her triumphal embrace of hip-hop style drops. If Ariana, Billie, Halsey and others seem to be so effortless themselves, it's partly because Swift has worked so hard to tell his truth and hit his enemies.
Lover is, rightly, evolutionary rather than revolutionary. But nonetheless, it sounds like an epiphany: free and unhurried, governed by no concept or perspective, it represents Swift's most liberated home, enjoying a little of the freedom that she has won for her cohort. Made mainly in collaboration with Jack Antonoff, female all-singer, the dominant sound of the album is a modernized 80s pop-rock style. In a bonus song for a target edition of the album, Swift tells Antonoff that she wants a "dreamy guitar-y, but no camp-backback" sound for the title track, and that's pretty much near the atmosphere. (Think of the recent Carly Rae Jepsen, if she succeeds.) Swift charges "Paper Rings" with a "1-2-3-4", a "hey! ho! "And a key change for a bit of fun between Cars-meets-Eddie and Money-meets-Go-Go. In the wonderful "Cruel Summer", written with Antonoff and Annie Clark (aka St. Vincent), she tells a simple story of love tortured in less than three minutes of pure pleasure, with what looks like a handful of speeches . When she sings "By the window / I'm still waiting for you to wait underneath", there is no question of thinking that you are supposed to imagine John Cusack Say anything.
Swift adjusts its frame of reference as needed. She claims to be "in my feelings more than Drake" in "I forgot you existed," a pro-forma, post-too-house statement, of her "indifference" to enemies. Fortunately, it is especially for the impertinent who winks at Swift. Instead, she goes mostly for big moods. "False God" is as minimal and seductive as anything that happens in the Weeknd, with a chorus, well, I'll leave it here: "Religion is on your lips / Even if it's a false god / We'd love it again / We just need to get away / The altar is my hip. "She circles an oblique political commentary with" Miss Americana and the heart-rending prince, "a parable in a high school in which she sees" high fives " between villains "and book" O! K! "Interjections in his best cheerleader voice. Euphoria, the extravagance of HBO's adolescence is dark, melodramatic and, against all odds, perfect.
Here, there is much more food for the Swifties, the enemies and the bloggers. Leo embodies a proverbial volley ball on "The Man", a brutally useful charge against double standards, and the "nested" London Boy tells all the ways she "imagines" her boyfriend, Joe Alwyn. "Soon You'll Get Better" was recorded with Dixie Chicks, but giving a feature film to the country radio exile is not the goal – the song is a perfect ballad for Swift's mother, whose cancer has returned more early this year. Whatever there is to read in these songs, they are for a person and a single person: Taylor Swift. Finally.
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