THere are albums for which it seems a huge success, and then there is a showgirl life. The podcast, on which Taylor Swift announced the release of his 12th studio album-new heights of her fiancé Travis Kelsal-Nicked half a billion views, breaking the record set by Donald Trump on the experience of Joe Rogan in the process. The film “Point -Selishes”, which presents lyrical videos and backstage personnel, which someone else will release another on YouTube, instead preparing for the theater release in more than 100 countries: only in the USA it has been sold $ 15 million tickets in 24 hours. The album itself was pre -fixed more than 5 m times on Spotify, According to another entry in the process. “Now I'm immortal,” Swift sings on the title track that seems not like extravagant boasting than a fact.
The excitement was strengthened because the new Taylor Swift The album seemed unlikely. Even considering her famous speed of work in Stakhanovit and her acute understanding of the constant outflow of the priest and continuous noise for content, you may have expected that she would take a break after a round of eras, which lasted almost two years. But no: not 10 months since she turned around, here she is again, wearing a new album, which worked as an artistic turn of a hand brake.
Unlike last year's Department of torture poets – who, by the time she finished releasing expanded publications and bonus tracks, was almost two and a half hours – she offers 12 clear songs in 40 minutes. Her recent employees of Jack Antonoff and Aaron Desner are nowhere to be seen. Swift earned the life of a show-girl between the eras with Max Martin and Shellback, the Swedish duet, who wrote in co-authorship and created its most frank pop-wangers of the 2010s: shake, empty space, do not blame me, bad blood.
But anyone who expects something like this from Showgirl is waiting for: Fizzing Electronic Pop of Reputation and 1989 is clearly absent. Instead, its main currency is a light, light rock rock: acoustic guitars, foggy synthesizers, thin orchestrations and a hoarse backing. Wood’s unsuccessful gaze at the disco, not not the sweaty hedonism of the dance floor, but at the time of the 70s, when the rhythms from four to floors and a guitar with chicken crossing temporarily invaded the work of singers-singers of the western coast.
More striking is still a clear absence of undeniable hooks and nailed melodies. The songs are well turned, but from the point of view of the really memorable points, Showgirl prefers only one choir killer (Elizabeth Taylor), some impressively unexpected key changes in Wi $ h li $ t and reliably killed from heartbreaking, who discover that quickly returning to their hometown at the funeral of an older militant. She does not cause. Is there a fantastic sequence of chords on a really romantic one, but, alas, 37 years ago, Frank Black wrote very similar to where my mind is? Pixies, a song that you can literally sing along, so that it is actually romantic. The rest float in one ear, and the other is not unpleasant, but you can reasonably expect more, given the charged resistance in writing songs, as well as Swift's statements about “Keeping the bar really high“
Songs of songs -subjectly inspired by her life on stage and outside the round of eras – Sometimes do what you can expect that you can make the Taylor Swift album. In fact, a romantic romance, a trip to the nameless pop -smoter, throwing enough tips along the way that someone can decide, this is a response to the sympathy of Charlie XCX -this is a knife. Cancellation! He receives the case with the contradictions prone to Kim-i-Kanya, which surround the Swift in 2015 and 2016, and the Father Figure applies to the former Boss Label Scott Borchetta, both in unnecessary, so that Sa-Y-Hed-Laugh-Stil. Here and there there are several prickly lines – “You have concluded a deal with this devil / It turns out that my member is larger,” but they actually do not click. Perhaps this is because it is canceled! And the father of the figure, review the very well-thought-out earth, while the opponent causes when you are the most successful pop star in the world, by default, hitting, even if she obviously called you “boring Barbie” behind your back.
But the real lyrical direction of the album is the relationship of Swift with Kels, which turns out to be a very mixed blessing. You could say that the dreams of Wi $ h li $ t about suburban home satisfaction are reflected quickly, that the high audience is a high school student, who heard their daily life reflected in the story of love or fifteen, and can also reflect on the possibility of “two children” and “access road from basketball”. But, despite her alleged personal condition in the amount of $ 1.6 billion, she declares herself not interested in success and materialism-“this life of a yacht under a vertole blade … These bright lights and shades of Balenci”, which is a little suitable when she compared the clearly five-star circumstances of her fiancé to the luminous life of Elizabeth Taylor; West in exiles to Plaza Athénée, a Parisian hotel, where the cheapest room will answer you 2000 pounds per night; And the singing of the “best stand” in the legendary Hollywood restaurant MUSSO & FRANK.
Then there is wood, a song that, metaphorically speaking, drunk porridge on the table in the Wetherspoons pub with a distorting of a wedding veil on his head and L-table around his neck and approves everyone in the yashno with a loud paan to the size of her pen, which, describes in different ways, as his magic, his “Redwood”, his “Redwood”, his “Redwood”, his “Redwood”, his “Redwood”, his “Redwood”. “Redwood”, his “Redwood”, his “Redwood” (his “Redwood” and “Magic”, his “Redwood”, his “Redwood” (“Redwood” and “Magic” (his “Redwood” and “Redwood” (his “Redwood” and “Troll” (his “Redwood” (his and not. The sentence on the word “bold”). Of course, Swift has the right. To write about what she wants, TMI or not, but it is impossible to avoid the fact that the comparison of the handle of her partner with a magic wand is a weak letter from someone, who made her name, at least partially, being a clearer, witty, more sharp lyrics than her peers.
In fairness, Wood is one of them, in which there is a mistake in the album that is not terrible: it is only nowhere as good as Swift's talents should be given, and this makes you think why. Perhaps romantic satisfaction simply writes whiter than vengeful bitterness after a break, or perhaps it fluctuates. Perhaps it was hastily. Or, perhaps, his author was simply exhausted, which would be completely clear. It seems even immortal, sometimes it should take a break from the constant outflow of the priest and continuous noise for content.
This week Alexis listened
Mildred – Green Car
A beautiful song that could be designed for the fall: slow, is gradually washed on you, filled with tired sadness.
