Taylor Swift has countless times proven herself as a top-tier songwriter, and if her new album “Midnights” does nothing else, it should solidify that for whatever few skeptics there might be out there.
Her songwriting has become so complex that I would argue it has almost come full circle in a strange way.
“From sprinkler splashes to fireplace ashes // I gave my blood, sweat, and tears for this // I hosted parties and starved my body // Like I’d be saved by a perfect kiss,” Swift reminisces on the vulnerable track “You’re On Your Own, Kid.”
Interestingly enough, “Karma is a cat,” is an actual lyric on this record. I would argue, however, that Swift still exemplifies songwriting genius here.
On “Karma,” Swift is basically agreeing with “what goes around comes around.” This simply means that she’s done good to others, and therefore, she can have a happy life involving a cat that loves her. The lyric is so odd that it actually works.
My final note on strong lyricism comes from my personal favorite track: “Anti-Hero.”
Self-sabotage is the core theme, and I think it’s executed well from start to finish. Her vulnerability is something my little country music-loving heart was instantly drawn to, but I think the humorous tone that also leaks through is really what makes it an unforgettable experience.
And then there’s the production.
Though it’s cohesive in its shimmering sound, the production styles on this record are just not for me. I usually find myself imagining albums as book chapters, but here it felt more appropriate to compare it to levels in video games because of how it sounded.
“Bejeweled” and “Mastermind” best embody this feeling on the record. The intros sound like they were pulled straight from a video game. And when the songs don’t necessarily sound like a video game, they’re still heavily influenced by a vintage technology sound.
To be honest, that’s where my problems with this record arise.
I appreciate music so much more when it’s flavored with calloused fingers on strings or smart piano play. Obviously, people can be creatively free with technological tunes, but the emotional songwriting would have been heightened had it been accompanied by real instrumentation.
The visual elements of the album seem to be directed toward the 1970s, but between the classic, Pac-Man-similar production and extremely specific songwriting, I would swear this album belongs in the ’80s.
I wish there was the same tenderness that the lyrics call for in the production, but Swift does what she aims to do pretty well. It’s a story of late-night thoughts with a starry, cosmic sound.
For that, I have to score “Midnights” an impressive 8/10. Even when I wasn’t her target audience, she still was able to rope me in with her always eloquent storytelling and strong lyricism.
Needless to say, there was nothing mid about “Midnights.”
