Review: Taylor Swift – evermore

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.

You can buy or stream Evermore on Apple Music.

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_catKyle 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!!!

Review: Taylor Swift – folklore

At this point, there should be very little Taylor Swift could do that would shock us. Releasing her eighth (and possibly best) album less than a year after Lover, her seventh (and possibly best) album, is one example, though. Simply put, folklore is a masterpiece of a record that exemplifies the best of Swift as an artist while reigning in just as many aspects that made her a world renowned star. Restrained, introspective and overflowing with emotional stories, folklore is as much a perfect introduction to Swift as it is a departure of her sound.

You can buy or stream folklore on Apple Music.

Folklore is almost as much of a sonic departure for Swift as 1989 was at the time of its release. While Lover reveled in the silence between notes, the anthemic stadium pop still filtered through the gaps. It’s difficult to say that folklore, an album conceived during the coronavirus quarantine, is a natural progression of Lover even though it further strips away the electrifying pop sounds and delves deeper into the indie folk genre.

Co-written with Jack Antonoff, The National’s Aaron Dressner and Bon Iver, folklore is an indie folk album that revels in Swift’s signature storytelling abilities. However, where the album gains its strength is in the mixture of personal stories and fictional characters that blend together so well, it seems like this is how Swift has written her songs all along (“my tears richochet”).

Stripped of the overt poppy gloss, it would be easy to write folklore off as a return to Swift’s country roots, but that couldn’t be further from the truth. The piano and acoustic led songs would be just as good if fleshed out further so as to make them stadium rumbling anthems. However, as is, the album is amongst the most intimate of Swift’s lyrics, even when the story isn’t about her.

On a surface level, folklore appears to be almost too relaxed (“cardigan”). It lacks Swift pushing her vocals to their limits, anthemic choruses or any of those hooks that would make for an obvious top radio single. Instead, Swift’s relaxed vocals force attention to melody and lyricism. Minimalistic, folklore puts the story at the forefront with the soft twinkle of piano, acoustic guitar and surgically precise orchestration relegated to the most intense moments (“august”).

If there is a theme to folklore, it is to turn the tables on the fans who pour over Swift’s lyrics to decipher what she is singing about. Each song of folklore seems to dance from real stories, to fictional characters to the speculative heartbreak expected on Swift’s early releases.

Opener “the 1” retraces the lost loves we all held as young adults (“Roaring twenties, tossing pennies in the pool / And if my wishes came true / It would’ve been you”). Meanwhile, “the last great american dynasty” pulls at similar themes to “The Lucky One” from Red (“Who knows, if she never showed up, what could’ve been / There goes the maddest woman this town has ever seen / She had a marvelous time ruining everything”).

The twinkling piano of “mad woman” acts as a second act to Lover’s “The Man” in that it radiates years’ worth of rage from dealing with sexism, harkening back to “Look What You Made Me Do” as well as “the last great american dynasty” (“Every time you call me crazy, I get more crazy / What about that? / And when you say I seem angry, I get more angry”). Meanwhile, closing track “hoax” acts as a bookend to “the 1”, diving fully into the regret and anger of those true, lost loves (“Your faithless love’s the only hoax I believe in / Don’t want no other shade of blue but you / No other sadness in the world would do”).

The magic of folklore isn’t that it was a surprise release, but that it was a surprising delivery. Stripped of the over-the-top glam of her previous albums, Folklore manages to be just as poignant as any past releases, with Swift the artist reigning above Swift the pop star. If there is a fault in folklore, it’s that the album is a few songs too long, but I do not envy the person to decide which to cut. That folklore manages to carry the weight of the biggest pop star on the planet and retain the ingenuity of an up-and-comer is only further proof that Taylor Swift may be the best musical artist on the planet.

5/5

by Kyle Schultz

kyle_catKyle 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 dropped his deodorant in the toilet today, the way that champions do.