Taylor Swift’s ‘reputation’: a track-by-track analysis
November 12, 2017 - Fifty Shades of Grey
Is a aged Taylor unequivocally dead?
Taylor Swift’s rarely expected sixth album, reputation, hits hard. Below is a relapse of a sounds and lyrics from any lane of reputation, Swift’s new, daring, “I don’t care” opinion in low-pitched form.
- “…Ready For It?”
The album’s second single, complicated with synthpop, has Swift talk-singing (not rapping) about beloved Joe Alwyn. The second hymn gets a small sour with “And he can be my jailer/Burton to this Taylor/Every adore I’ve famous in comparison is a failure/I forget their names now/I’m so really tame now.” Swift does, however, pierce a tropical, splendid lane that is eventually full of fun.
- “End Game” (feat. Ed Sheeran and Future)
Sheeran enhances a verses as a singer/rapper himself. Once again, cocktail sounds can’t facade clever lyricism: “I got issues and chips on both of my shoulders/Reputation precedes me and rumors are knee-deep/The law is, it’s easier to omit it, trust me,” Sheeran sings. Future does not supplement many musical or sonic significance, however, and a lane would have been improved though this feature.
- “I Did Something Bad”
Both lyrically and sonically, Swift speaks of flames, either in a lyrics, as a embellishment for being in love, or by complicated beats and voice manipulations. However, a use of representation improvement in a overpass is not required vocally or for effect, and it degrades a altogether peculiarity of a track.
- “Don’t Blame Me”
A moist sound carries this track, that drips with lust. Sound and lyrics considered, this strain simply could have been placed on a soundtrack of Fifty Shades of Grey.
Lyrically, this strain shines. “Is it cold that we pronounced all that?/Is it chill that you’re in my head?/’Cause we know that it’s delicate,” Swift sings. But here we go again with a nonessential representation correction. Just stay divided from it. The tune is also flattering uneventful.
- “Look What You Made Me Do”
As explained in a prior singular review, a intolerable sound should not shroud a overlying message: Don’t disaster with me. As done transparent by many other tracks, however, Swift also uses joke to play on a persona of her repute in public.
- “So It Goes … ”
This is by distant one of a weakest tracks. The lyrics don’t compare a peculiarity of others on a album, and again, Swift relies on representation correction. The strain has a twisted and roughly irritating vibe.
This lane was expelled as a promotional single, and with good reason. Other than “New Year’s Day,” a album’s final track, a “old” Swift is many benefaction in this composition. Swift sings, “You should consider about a consequence/Of your captivating margin being a small too strong.” The lane steers divided from hard-hitting, complicated production, providing a good breather mid by a album.
- “Getaway Car”
A clever contender for best lane on reputation, this strain depicts an superb shun story with assistance from writer and co-writer Jack Antonoff. “You were drivin’ a getaway car/We were flyin’, though we’d never get far/Don’t fake it’s such a mystery/Think about a place where we initial met me,” Swift sings. To sonically expand a musical storyline, a shining pivotal change rounds out a sentimental charmer.
- “King of My Heart”
Unfortunately, like “So It Goes,” this strain falls brief by diseased lyrics like, “So infer to me I’m your American Queen/And we pierce to me like I’m a Motown beat.” Really? Skip this track.
- “Dancing With Our Hands Tied”
The sentimental kick and tune are somehow done complicated and brought together good on this track, another Antonoff-Swift collaboration. It also sounds drastically opposite from many other songs on a album, substantiating it as a clever track.
This lane is a ideal instance of a majority and probity that gleam on reputation. It’s not shining in terms of sound, though it ideally represents how Swift has let down a barriers of her personal life and strew her ideal persona. “Carve your name into my bedpost.” Huh? we have no thought what that means.
- “This Is Why We Can’t Have Nice Things”
If Taylor had an “F you” anthem on reputation, this would be it. Playful piano bounces enrich Swift’s transparent dissing of Kanye West, singing “Friends don’t try to pretence you/Get we on a phone and mind-twist you,” in anxiety to West’s “Famous” verse scandal.
- “Call It What You Want”
The final promotional singular is Taylor’s best of a 4 pre-album releases, essay overtly with a low-key cocktail and hip-hop beat. It is another prominence lane to not miss.
- “New Year’s Day”
This lane premiered on ABC a night before a album’s central release. This is by distant a many stripped-back track, with only Taylor and a few instruments. The lyrics are brilliant, and a altogether sound is suggestive of early singer-songwriter Swift. It substantially wins for best lane on reputation, too.
Edited by Claire Colby | email@example.com