Voice of London

⭐️ ⭐️ ⭐️ ⭐️ / ⭐️ ⭐️ ⭐️ ⭐️ ⭐️ 

The newest addition to Taylor Swift’s discography, Midnights showcases electronic pop-filled melodies with intriguing narratives.

Released at midnight, 21st October, it’s the 10th studio album of the 11-time Grammy winner.  Midnights is not only pleasing on the ears but lyrically worthy of a dissertation-length analysis.

While this is a great contender for her best album, it comes in second to non-other than the Grammy’s 2021 album of the year, Folklore.

The songs of Midnights are instrumentally reminiscent of each other, to the point where they tend to blend into one another. However, there is a charming quality to it as it creates a trance-like state for fans and listeners. This works in Swift’s favour.

However, Vigilante Shit,  the most individualistic song, breaks the harmonic flow that listeners are hooked into further proving the point. All of this is to say that, the togetherness – cohesiveness is stunning. The whole album works together as an immersive piece, of being awake whilst the world sleeps, perfect for any melodramatic listener.

Arguably, the top four songs of the album are also lyrically and story-wise the strongest.

The four are as follows:

Maroon is the bittersweetness of memory. It starts with the beauty of mundane moments between lovers, and the cinematic feeling you get with that special person. But the ending of the relationship is felt much deeper due to this, his memory is one Swift can’t clean from her mind; it has stained her view of love and her memories.

Anti-Hero showcases Swift’s depressive condition. It’s a look into her self-villainising mindset, that places her at the centre of the problem because of other people’s opinions of her. There’s paranoia behind her words, that fear that her lover will leave her because of this. Anti-Hero is also currently the only track with an official video, released only hours after the release of the album.

The only song with a featured artist on the album Snow On the Beach lyrically plays as a simile for Swift’s astonishment at her crush reciprocating her feelings. The featuring artist, Summertime Sadness singer Lana del Rey’s voice acts as a dream-like apparition that is delicately placed on top of Swift’s voice.

The fifth track of the album is the ultimate note to self. You’re On Your Own, Kid sees Swift advising her past self through the pinnacle moments of her life. From the relationships of her youth to her dreams of making it as an artist and her struggles of maintaining her fame. The result is Swift’s understanding of her self-worth and her power as an individual. This track also feels like the most personal entry of Midnights.

In conclusion, the narrative sees the awakening of Swift’s new era. One where we see her more authentically, her fears and self-growth, accompanied by loveable instrumentals that transport listeners to Swift’s new world.

Words: Ashreya Jimi | Subbing: Elitsa Maymareva