Four of our music writers delved into the world of Taylor Swift's brand new album 'Midnights'. Here's what they had to say...
Sophie McNally - Deputy Editor
"The album is like [her albums] Reputation, Lover, and 1989 had a three way".
My friend's (Giana Cucci's) rundown of Taylor Swift's album is sublime. Midnights marks a lull in Swift's gilded music career so far, certainly not a watershed.
Midnights marks a lull in Swift's gilded music career so far, certainly not a watershed
Midnights marks a lull in Swift's gilded music career so far, certainly not a watershed
The singer's twelfth studio album is effervescent with a laziness that even the astounding level of marketing hype couldn't cover up.
The lyrics are simplistic at best ("Sweet like honey, karma is a cat / Purring in my lap 'cause it loves me"), whilst the actual sound and execution seems misguided - torn between her previous musical stylings and an apparent hesitation about what new heights the artist can reach after the exquisite back-to-back folklore and evermore releases.
Eighth track 'Vigilante S***' should have been the perfect new wave sequel to the 2017 Reputation era, yet it's palpably uncomfortable and would be more successful as a dark, 'badass', backing track for a Marvel film.
Though the track did prove that Swift suits a brooding tone under certain circumstances. Ones where rain dances on rooftops as she sighs and questions personal anxieties, or pains at wearing her heart on her sleeve. Not one where she's scathing and sardonic.
'Snow On The Beach', 'You're On Your Own, Kid' and 'The Great War' are outliers to the rhythms and beats on Midnights, (that teeter on being soulless) as they recapture the quintessential Swift craftsmanship with chiselled lyrics and soft, ethereal backing tracks.
Every song of the seven released in the surprise Midnights 3am Edition drop encapsulates Swift's innate artistry far more, and is a great attempt at restoring her worthy place as the poet of today's music industry.
Though this article is littered with criticisms for Swift, it's solely because she's set the standard for musicians of the 21st century and this time she's sorely missed her own mark.
2.5/5
Elisabeth Gores:
Straying far away from the timeless alternative-indie folk sound of her two previous lockdown records folklore and evermore, Swift returns with her 10th studio outing, Midnights, a record that in her words is a ‘journey through terrors and sweet dreams', inspired by ‘13 sleepless nights’.
Midnights is less sonically cohesive than her former records notably 2014s 1989 and 2020s folklore, however, Swift doesn’t aim for this but rather allows for an exploration of atmospheric shoe-gazing synthesizers, gently vibrating beats, relaxed pop and soft grooves. The album is also distinctively lacking in the luminous chart hits that have defined Swift’s sixteen-year long career but is still a step back towards the mainstream from her last two albums. The songs centre around confessional yet elusive lyrics, exploring themes such as self-worth, self-reflection and self-criticism, insecurity and naturally insomnia.
Allows for an exploration of atmospheric shoe-gazing synthesizers, gently vibrating beats, relaxed pop and soft grooves
An exploration of atmospheric shoe-gazing synthesizers, gently vibrating beats, relaxed pop and soft grooves
There is a thin line between mindful and mindless song-writing, and this can be seen on Midnights’ weaker moments where the rhyme schemes and album’s witty lyrics feel somewhat unnaturally achieved. However, given that this is Swift’s fourth new album in three years, her sporadic lyrical fatigue is somewhat to be expected. Swift also continues her trend of neglecting female features with Del Rey, like those before her barley being heard on the records singular collaborative track, 'Snow On The Beach'.
Despite these aforementioned shortcomings, the record is still an enjoyable listen becoming better with increasing familiarity. The standout tracks on the 13-track edition of the album are: 'Question…?', 'Lavender Haze', 'Maroon', 'Snow on the Beach' and 'Bejeweled'. These will be going on my playlists, the rest while still being enjoyable may need some time to grow on me.
3.5/5
Lauren Reid
To me, the feel of Midnights can be described as an electrifying mix of 1989’s sound, the lyricism of evermore, and the taste of vengeance granted by Reputation. Yet it’s none of those because Midnights is its own album. The individual brilliance of the sound as a package of tracks is hard to describe.
Coming off of two years of ceaseless listening to folklore and evermore, I couldn’t imagine a new album that strayed from the folk sound. Yet after a few full listen-throughs, I knew I would grow to love the album; with the electrifying sound that persists throughout, it’s hard not to. My only dislike was the distorted vocals on 'Midnight Rain'. A great song, meaningful lyrics, but slightly ruined with the robotic effect…
As an album, however, I love how authentically Taylor it all sounds. It sounds like she made if for her, and considering her fight to own her music, it’s great to hear.
The best three on the album (currently) for me would have to be: 'Maroon', 'Vigilante S***', and 'You’re on your own, kid'. Her bridges are always phenomenal, and 'You’re on your own, kid' did not disappoint in that regard.
Amy Dunn
In her tenth studio album, Midnights, Taylor Swift takes a step away from the well-received indie-folk influence of folklore and evermore in favour of a more hazy, explorative synth-pop sound. While the album is decidedly marked by Jack Antonoff’s production style, Swift’s self-reflective and witty lyricism remains her greatest strength. Swift refuses to shy from topics frequently speculated upon, with her relationship and public image the subject of several tracks, each tackled with the same sharp-witted self-awareness.
Although throughout the album she experiments with a darker sound, Swift makes time for a soft ballad written alongside her partner Joe Alwyn. Amongst dreamy, explorative tracks, 'Sweet Nothing' feels like a breath of fresh air. The simplistic instrumental leaves the lyricism as the focal point of the track.
While perhaps not the album that we were expecting, Taylor once again surpasses expectations and creates a heart-wrenchingly honest album that feels like arriving home in the hazy darkness, a comfort in the cold midnights.