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Review: Taylor Swift gets dark, electric on 91ƵMidnights91Ƶ

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

91ƵAll of me changed like midnight,91Ƶ confesses halfway through her latest album, the aptly named and moody 91ƵMidnights.91Ƶ

It91Ƶs a moment on the electric 91ƵMidnight Rain91Ƶ that finds lyricist Swift at her best, reminding you of her unparalleled ability to make any emotion feel universal.

The song91Ƶs chorus begins: 91ƵHe was sunshine, I was midnight rain.91Ƶ And continues: 91ƵHe wanted it comfortable, I wanted that pain. He wanted a bride, I was making my own name. Chasing that fame. He stayed the same.91Ƶ Then, that lyric: 91ƵAll of me changed like midnight.91Ƶ

The sound feels experimental for Swift, opening with her own vocals artificially pitched down to an almost-unrecognizable tone. It91Ƶs among the album91Ƶs most sonically interesting, an indie-pop beat that feels reminiscent of her producer Jack Antonoff91Ƶs work on Lorde91Ƶs 91ƵMelodrama,91Ƶ but also fresh and captivating.

The song91Ƶs words, by Swift and Antonoff, are steady and detailed, but not distracting 91Ƶ 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 91Ƶ dropping and after 91ƵMidnights91Ƶ released.

For her 10th original album, the 32-year-old pop star approaches the themes she91Ƶs grown up writing about 91Ƶ love, loss, childhood, fame 91Ƶ with a maturity that comes through in sharpened vocals and lyrics focused more on her inner-life than external persona.

91ƵMidnight Rain91Ƶ could be a thesis statement for the project she91Ƶs described as songs written during 91Ƶ13 sleepless nights,91Ƶ an appropriate approach to the concept album for someone who has long had a lyrical appreciation for late nights (think 91ƵStyle91Ƶ: 91Ƶmidnight, you come and pick me up, no headlights91Ƶ91Ƶ). Of course, she91Ƶs centered her work around themes before 91Ƶ on 91ƵRed,91Ƶ an ode to the color and the emotions it stands for, 91Ƶreputation,91Ƶ a vindictive reconfiguring of her own, and most recently on 91Ƶfolklore91Ƶ and 91Ƶevermore,91Ƶ quarantine albums that expressed vulnerability in ways only isolation could.

But Swift presents 91ƵMidnights91Ƶ as something different: a collection of songs that don91Ƶt necessarily have to go together, but fit together because she has declared them products of late night inspiration. Positioning listeners situationally 91Ƶ in the quiet but thoughtful darkness of night 91Ƶ 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, 91ƵLavender Haze,91Ƶ pairs a muffled club beat and high-pitched backing vocals from Antonoff with stand-out, beckoning melody from Swift. 91ƵMaroon91Ƶ is a grown-up and weathered version of 91ƵRed,91Ƶ a dive into lost love with rich descriptions of rust, spilled wine, red lipstick 91Ƶ images Swift is reconjuring with more bite.

91ƵLabyrinth91Ƶ makes clear she91Ƶs carried the best of her previous pop experiments with her 91Ƶ the synth of 91Ƶ198991Ƶ and the softer alternative sounds of 91Ƶfolklore91Ƶ 91Ƶ as she admits as only a songwriter can that a heartbreak 91Ƶonly feels this raw right now, lost in the labyrinth of my mind,91Ƶ 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 isn91Ƶt another album of acoustic indie sounds like 91Ƶfolklore,91Ƶ it is clear that Swift has taken a step forward in the indie-pop genre 91Ƶ even if it91Ƶs a step in a different direction.

The album91Ƶs weaker moments are the ones where that balance feels off. 91ƵBejeweled91Ƶ is a bit too candy sweet, with lyrics that feel like an updated, glittery take on 91ƵME!91Ƶ The much anticipated 91ƵSnow On The Beach,91Ƶ featuring Lana Del Rey, is poetic, pretty, and at times cheeky, but not as emotionally deep as the lyricists91Ƶ combined power suggests it could be.

Even in those moments, 91ƵMidnights91Ƶ 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: 91ƵAnti-Hero91Ƶ and 91ƵMastermind91Ƶ) and hook even the casual listener with an alluring, and maybe surprising, beat.

But like the love-soaked 91ƵLover,91Ƶ and and 91Ƶevermore,91Ƶ 91ƵMidnights91Ƶ feels like both a confessional and a playground, crafted by all the versions of Taylor Swift we91Ƶve gotten to know so far for a new Taylor Swift to shine. And like always, we91Ƶre just along for the thrilling late-night ride.

91ƵElise Ryan, The Associated Press





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