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taylor swift folklore review

By the time that arrives, a weariness has descended: the sense that one of pop’s all-time greatest songwriters is overcompensating despite her clear talent. hits overdrive halfway through, when it reaches a trilogy of heavy hitters. But the arrangements on Folklore are far more restrained, and in any case a version of the National headed up by Taylor Swift wouldn’t be the National at all. All rights reserved. Lover, for instance, saw some of her loveliest compositions broken up by frantic pop anthems several sizes too immature for an artist about to turn 30, as Swift did in December. The references to fame are few and far between, although they’re tasty when they do show up, as in “Invisible String”: “Bad was the blood of the song in the cab on your first trip to L.A.” She can’t resist adding: “Cold was the steel of my axe to grind/For the boys who broke my heart/Now I send their babies presents.” Touché. Swift, now 30, has long been fond of the National, whose multi-instrumentalist lynchpin Aaron Dessner has broken out from the band to become a favoured producer (Sharon Van Etten), collaborator (Big Red Machine with Justin Vernon, Michael Stipe), charity album-wrangler (Dark Was the Night, Day of the Dead), festival organiser, label boss and all-round, eminently commissionable good egg. Folklore really feels like the debut album of a whole new Swift — her narrative scope has opened up, with a wide-ranging cast of characters for 17 songs, without a dud. By choosing I Accept, you consent to our use of cookies and other tracking technologies. takes a completely different approach, yet feels even more intimate, simply because it’s the sound of an artist with absolutely nothing to prove. As it is, their head-to-head Exile is instructive, rather than devastating, a duet atomising a relationship from two points of view, with all the song’s moving parts visible. . Remember when she was threatening to spend this year rerecording all her old albums? She’s always relished her dramatic creative zigzags, but this is easily her most audacious move, full of story-telling depth she’s never come close to before. You can also choose to be emailed when someone replies to your comment. The opening track, “The 1,” seems to draw on the last realm among “fantasy, history, and memory,” pondering if things could have ended differently with a lost love. Its closest precedent, as music-critic Twitter consensed within hours of its release, might be in mid-to-late-1990s Sarah McLachlan—whose 1999 live album Mirrorball has its title in common with the sixth track here—or a beatless version of U.K. trip-hop in the same period, at least on the record’s more shimmery, ectoplasmic moments such as “My Tears Ricochet” (in which Swift may be portraying a literal ghost) and “Epiphany.” When it accelerates a gear or two, it might summon the lilt of lower-tempo Cranberries or Cardigans (coincidentally a clothing item that cameos in more than one Folklore song). For her eighth album, announced less than 24 hours in advance, all of that went out the window. Instead, she spent the quarantine season throwing herself into a new, secret project: her eighth album. Join Slate Plus to continue reading, and you’ll get unlimited access to all our work—and support Slate’s independent journalism.

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