Review: “Midnights” by Taylor Swift
By Ella Prieto, Staff Writer
Taylor Swift’s 10th original studio album “Midnights” (Photo courtesy of Taylor Swift)
On Oct. 21, musician Taylor Swift released her 10th original studio album, “Midnights.” The release comes two years after her last original studio album “Evermore” but less than a year after the release of her re-recorded “Red” album. For those who do not know, Taylor Swift has been re-releasing her albums recorded with her previous record label “Big Machine Records” since they sold her music to entertainment executive and manager Scooter Braun.
Fans were unsure if Swift would be releasing any new albums while her old ones were being re-released, but they, and I, are delighted she is.
The sound of “Midnights” has been much speculated about, especially after the full tracklist came out. Some theorized it would have the same folksy, sad sound of “Folklore” and “Evermore” while others believed it would be upbeat like “Lover.” After listening to the album, I feel that the sound is a mix of the “Folklore” feel with the “1989” style.
“Midnights” has been coined synth-pop and dream-pop by many critics, as it features many subtle grooves, vintage synthesizers, and hip-hop rhythms. It is an exploration for Swift, as she constantly revamps her style and travels into varying genres.
The album was produced and written primarily by Swift with her main collaborator Jack Antonoff. Others who worked on the album include Lana Del Rey, Aaron Dessner, Zoë Kravitz, Sam Dew, William Bowery, Mark Spears, and Jahaan Sweet. Dylan O’Brien, who appeared in Swift’s “All Too Well” short film is also listed as playing the drums for “Snow on the Beach.”
The lyricism, as usual of Taylor Swift, is spectacular. Her main topics on this album revolve around lovers, past and current, and self-loathing. Some of my favorite lyrics include:
“Did you hear my covert narcissism I disguised as altruism/Like some kind of congressman”
“No one wanted to play with as a little kid/So I’ve been scheming like a criminal ever since/To make them love me and make it seem effortless”
“From sprinkler splashes to fireplace ashes/I gave my blood, sweat, and tears for this/I hosted parties and starved my body/Like I’d be saved by a perfect kiss”
“I feel the lavender haze creeping up on me/Surreal/I’m damned if I do give a damn what people say/No deal”
“If clarity’s in death, then why won’t this die?/Years of tearing down our banners, you and I/Living for the thrill of hitting you where it hurts/Give me back my girlhood, it was mine first”
There remain many more lyrics I could mention, but for now, I will leave you with those to ponder. And while these lyrics may seem very random to all appear on a cohesive album, they work together fabulously.
The basis for the “Midnights” album was Swift reflecting on those nights when sleep eluded due to several reasons. Sometimes it was because of being in love and sometimes it was because of haunting memories. There is a complexity to the album that only midnight memories could bring.
It is also important to note that Swift released a “3am Edition” of the album that contained seven more songs. These songs sound much more sorrowful than the regular album. The standouts include “Bigger Than The Whole Sky” which describes an incredible loss and “Would’ve, Could’ve, Should’ve” which shows Swift reminiscing on a past relationship she had with an older man, who many believe is John Mayer. This 3am chapter pushes the boundaries of “Midnights” to describe more painful sleepless nights.
Overall, the album speaks to anyone who has found themself tossing and turning, contemplating their actions and memories. It is full of whispers of regrets but also shouts of joy. “Midnights” has comforts and woes, failures and triumphs. The album will stay with you long past the initial listen.
