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Review: Taylor Swift gets dark, electric on BԪַMidnightsBԪַ

New album makes it clear that Swift has taken a step forward in the indie-pop genre

BԪַAll of me changed like midnight,BԪַ confesses halfway through her latest album, the aptly named and moody BԪַMidnights.BԪַ

ItBԪַs a moment on the electric BԪַMidnight RainBԪַ that finds lyricist Swift at her best, reminding you of her unparalleled ability to make any emotion feel universal.

The songBԪַs chorus begins: BԪַHe was sunshine, I was midnight rain.BԪַ And continues: BԪַHe wanted it comfortable, I wanted that pain. He wanted a bride, I was making my own name. Chasing that fame. He stayed the same.BԪַ Then, that lyric: BԪַAll of me changed like midnight.BԪַ

The sound feels experimental for Swift, opening with her own vocals artificially pitched down to an almost-unrecognizable tone. ItBԪַs among the albumBԪַs most sonically interesting, an indie-pop beat that feels reminiscent of her producer Jack AntonoffBԪַs work on LordeBԪַs BԪַMelodrama,BԪַ but also fresh and captivating.

The songBԪַs words, by Swift and Antonoff, are steady and detailed, but not distracting BԪַ allowing you to sink into the rhythm, flowing and feeling it with her.

On a self-aware Swift shows off her ability to evolve again. And in typical Swift fashion, she had more surprises up her sleeve BԪַ dropping and after BԪַMidnightsBԪַ released.

For her 10th original album, the 32-year-old pop star approaches the themes sheBԪַs grown up writing about BԪַ love, loss, childhood, fame BԪַ with a maturity that comes through in sharpened vocals and lyrics focused more on her inner-life than external persona.

BԪַMidnight RainBԪַ could be a thesis statement for the project sheBԪַs described as songs written during BԪַ13 sleepless nights,BԪַ an appropriate approach to the concept album for someone who has long had a lyrical appreciation for late nights (think BԪַStyleBԪַ: BԪַmidnight, you come and pick me up, no headlightsBԪַBԪַ). Of course, sheBԪַs centered her work around themes before BԪַ on BԪַRed,BԪַ an ode to the color and the emotions it stands for, BԪַreputation,BԪַ a vindictive reconfiguring of her own, and most recently on BԪַfolkloreBԪַ and BԪַevermore,BԪַ quarantine albums that expressed vulnerability in ways only isolation could.

But Swift presents BԪַMidnightsBԪַ as something different: a collection of songs that donBԪַt necessarily have to go together, but fit together because she has declared them products of late night inspiration. Positioning listeners situationally BԪַ in the quiet but thoughtful darkness of night BԪַ instead of thematically, feels like a natural creative experiment for a songwriter so prolific that her albums have become synonymous with the pop culture zeitgeist.

And with that, comes a tone that is just a little darker, a little more experimental, and always electric.

Track one, BԪַLavender Haze,BԪַ pairs a muffled club beat and high-pitched backing vocals from Antonoff with stand-out, beckoning melody from Swift. BԪַMaroonBԪַ is a grown-up and weathered version of BԪַRed,BԪַ a dive into lost love with rich descriptions of rust, spilled wine, red lipstick BԪַ images Swift is reconjuring with more bite.

BԪַLabyrinthBԪַ makes clear sheBԪַs carried the best of her previous pop experiments with her BԪַ the synth of BԪַ1989BԪַ and the softer alternative sounds of BԪַfolkloreBԪַ BԪַ as she admits as only a songwriter can that a heartbreak BԪַonly feels this raw right now, lost in the labyrinth of my mind,BԪַ on top of a track featuring Bon Iver-esque electronic trills.

Swift shines when she is able to marry her signature lyrical musings with this new arena of electronic beats. And while this isnBԪַt another album of acoustic indie sounds like BԪַfolklore,BԪַ it is clear that Swift has taken a step forward in the indie-pop genre BԪַ even if itBԪַs a step in a different direction.

The albumBԪַs weaker moments are the ones where that balance feels off. BԪַBejeweledBԪַ is a bit too candy sweet, with lyrics that feel like an updated, glittery take on BԪַME!BԪַ The much anticipated BԪַSnow On The Beach,BԪַ featuring Lana Del Rey, is poetic, pretty, and at times cheeky, but not as emotionally deep as the lyricistsBԪַ combined power suggests it could be.

Even in those moments, BԪַMidnightsBԪַ finds Swift comfortable in her musical skin, revealing the strengths of a sharp and ever-evolving artist who can wink through always-cryptic allusions to her very public life or subtle self-owns dispersed amidst lyrical confessions (see: BԪַAnti-HeroBԪַ and BԪַMastermindBԪַ) and hook even the casual listener with an alluring, and maybe surprising, beat.

But like the love-soaked BԪַLover,BԪַ and and BԪַevermore,BԪַ BԪַMidnightsBԪַ feels like both a confessional and a playground, crafted by all the versions of Taylor Swift weBԪַve gotten to know so far for a new Taylor Swift to shine. And like always, weBԪַre just along for the thrilling late-night ride.

BԪַElise Ryan, The Associated Press





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