After reading the review of “Lover” that A Magazine published last week, I was in such a state of shock that I felt as though I had to provide fans with what they wanted, nay, needed: a cohesive, fact-supported argument analyzing Taylor Swift’s seventh studio album, “Lover.”
Though some aren’t particularly impressed by the opening track “I Forgot That You Existed,” I felt as though it’s a very well placed introduction to the album. It’s very light and simple, and as Swift stated in a Spotify interview, “closes the book on ‘Reputation’ in resolving that whole conflict with a shrug.”
Track two brings us to “Cruel Summer,” which is potentially one of the best Swift songs I have ever heard. Its production level is so current and feels like an 80’s song until you realize that the genius of pop himself, producer Jack Antonoff, is behind the production of the majority of the album. The title track, “Lover,” is the reason we love Taylor Swift. This song’s intimate lyrics and hint of country feel reminded me of how when Swift puts her most private moments into her music, it pays off greatly.
The political notion presented in “The Man,” is much more than last week’s review acknowledged. For one of the first times in music, a woman isn’t singing about wanting to be a “man,” but instead, about how horribly this industry treats women.
“If I was out flashing my dollars I’d be a bitch, not a baller.”
This album isn’t all perfect though, tracks like “Miss Americana & The Heartbreak Prince,” “The Archer,” “It’s Nice To Have A Friend,” and lead single “ME!” fall short. Some of their placements on the album feel wrong and seem as though they’d fit better as bonus tracks on a deluxe edition of “Lover.”
Some of the album’s other notable highlights include “I Think He Knows,” “Paper Rings,” “Afterglow” and “False God.” Antonoff is credited on the majority of these songs, where we can hear sounds similar to his work with Carly Rae Jepsen and MØ, the “new age” of pop music and synth production. Swift’s lyrical genius provides genuine satisfaction and tons of many eargasms.
The softer tracks “Cornelia Street,” “Soon You’ll Get Better,” and “Daylight” are what makes this album contrast so greatly from her last few albums. The intimacy provided me with the insight into Swift’s mind and what she claims this album is about.
“I want to be defined by the things that I love.”
“Soon You’ll Get Better,” hits specifically hard. This song tackles the battle Swift’s mom had while battling breast cancer, and lyrics like “desperate people find faith, so now I pray to Jesus too,” are some of the most relatable lyrics I have ever heard.
Overall, the arch of “Lover” is very cohesive and feels mature alongside the rest of Swift’s discography. If we were to omit a few of the uninteresting tracks from this lengthy album, I think we would have some of her best work to date. If I’ve learned anything from Swift it’s this: the future is female. But for now, the past and present are fixated on Taylor Swift.
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