At one point in my life, I was astounded that some of my favorite artists were able to release new albums in back-to-back years. What a naive summer child I was. Taylor Swift’s third album in less than a year-and-a-half is an astounding achievement. The morning it was announced, I almost couldn’t believe that it wasn’t just an album of folklore B-sides. Swift’s ninth studio album, evermore, is its own beast, despite being a sister to this year’s folklore. Although not quite the achievement that folklore felt like at the time, the fact that evermore exists is less impressive than the fact that it is another of Swift’s absolute definitive albums.

Considering that all of Swift’s records since 2012’s Red have sounded drastically different from each other, the biggest surprise from evermore is that it still holds its own identity despite being a continuation and a sequel album. Keeping most of the elements of folklore’s indie folk songwriting, evermore leans more toward indie pop with more of a polish than its predecessor. Although silence itself seems to act as an instrument at times, it’s less prominent than it was before, even on Lover, leaving an album that stands on its own as much as it highlights the best of Swift. 

Co-written with folklore’s superstar cast of Aaron Dessner of The National (who appear on “coney island”), Jack Antonoff, William Bowery (Joe Alwyn) and Bon Iver, and including an appearance by Haim on the outlaw country song “no body, no crime”, it’s no surprise that evermore follows similar beats to its predecessor. However, where folklore found hope and light throughout its runtime, evermore is more downtrodden. Evermore is folklore’s shadow in substance as well as release date. It may be difficult to see both albums as individuals in the future since they reflect one another in hindsight, somewhat similar to David Bowie’s famed Berlin Trilogy. 

While folklore provided some type of hope in this insane year, evermore shows the tiredness that the world faces 10 months into the pandemic. This is conveyed through the fictionalized stories written for each song, something that was highlighted the most on folklore. Though these stories are darker, they’re no less powerful and harken to the best of country songs, despite only housing a couple of songs that hint at a reflection of her roots. 

Driven by piano and acoustic guitar, evermore finds its footing standing between folklore’s indie vibe and Red’s mixture of pop and country. It captures a more produced effort than folklore, while balancing the sound between a mixture of genres. Although similar in texture, the albums depart in theme and sound just enough to stand apart.

Many songs on evermore reflect the sound of lost loves and the failings of love. Songs like “champagne problems” tell the story if a failed marriage proposal, and people telling the would be groom that the girl suffered from mental problems as a way to explain the outcome (“‘She would’ve made such a lovely bride / what a shame she’s fucked in the head,’ they said”). 

The deceptively titled “happiness” looks at the life after the destructive ending of what was once considered a great relationship (“Past the curses and cries / Beyond the terror in the nightfall / Haunted by the look in my eyes, that would’ve loved you for a lifetime / Leave it all behind, and there is happiness”). 

Although it’s harder to find standout tracks on the album, such as folklore’s “the last great american dynasty”, those songs still exist. “Marjorie” explores the regret of letting a loved one pass without learning everything they had to teach (“I should’ve asked you questions / I should’ve asked you how to be, asked you to write down for me / Should’ve kept every grocery store receipt”). 

Evermore is an album that delves into the melancholy just as much as its sister, folklore, delved into the positive. Although not as striking or as distinct as its immediate predecessors, evermore finds its identity by blending the last two albums sonically despite exploring the darkness of relationships. Despite the extensive ground covered in evermore, there is a constant threat of the album always being overshadowed and ultimately lost in Swift’s discography, despite how unique it is.

4/5

by Kyle Schultz

Kyle Schultz is the Senior Editor at It’s All Dead and has worked as a gaming journalist at Structure Gaming. He lives in Chicago and longs for the holidays next year, when there is a possibility that enough family members will be vaccinated enough to be able to cough in their eyes. HE WANTS TO COUGH IN EYES!!!