Taylor Swift’s heavily anticipated new alternative pop album “Midnights” is simultaneously electrifying and puzzling due to its characteristically phenomenal melodies and poor production.
“Midnights,” released Oct. 21, is a love child between her critically acclaimed records “1989” and “Reputation.” It sounds uncannily similar to Lorde’s “Melodrama,” which was also produced by Jack Antonoff. However, its synth-pop beats and experimentalism often miss the mark due to their awkward and sometimes unnecessary placement. While the opening track “Lavender Haze” is dreamy and sensual, the sound mixing feels messy.
Both Swift’s greatest weakness and strength on the album is her hyperspecific lyricism. On one hand, her candid writing is endearing; it feels like an exclusive invitation to a sleepless night with Swift, riddled with introspectiveness and vulnerability.
In one of the strongest songs on the album, “Maroon,” Swift moodily sings, “The burgundy on my T-shirt/ When you splashed your wine into me/ And how the blood rushed into my cheeks.”
On the other hand, some of the lyrics that are meant to be profound come across as vapid and laughable.
In the track “Anti-Hero” Swift sings a string of corny rhymes, “I should not be left to my own devices/ They come with prices and vices, I end up in crisis/ I wake up screaming from dreaming/ One day I’ll watch as you’re leaving/ ‘Cause you got tired of my scheming.” Perhaps the childlike rhyme scheme was intentional, but it comes off as lazy writing.
Besides the polarized writing, “Midnights” is refreshingly consistent as no two tracks sound the same. There is a solid balance of breathy ballads and confident pop bangers.
Each song has its own message personal to all things Swift — from her tumultuous love life to her deepest regrets and proudest accomplishments.
The song “Bejeweled” is a dazzling, self-assured track bound to crack a smile across the listener’s face as Swift bubbly sings, “Best believe I’m still bejeweled/ When I walk in the room/ I can still make the whole place shimmer.”
The album also includes a long-awaited collaboration between Swift and singer Lana Del Rey in the song “Snow on the Beach.” It’s a hazy, flowery song that brings the elated feeling of reciprocated love to life; the pair melodically sings, “And it’s like snow at the beach/ Weird, but fuckin’ beautiful/ Flying in a dream/ Stars by the pocketful/ You wanting me/ Tonight feels impossible.” Del Rey fits comfortably on this track, however, it would’ve been nice to receive a verse from her instead of just background vocals.
In true Swift fashion, a surprise seven tracks were released several hours after the release of the album, known as the “3am Edition.” It’s a shame some of these songs didn’t make it to the original album because they would make smart replacements for the weakest tracks.
The bonus song “The Great War” is a vivid saga between Swift and her lover as they battle the trials and tribulations of a relationship like soldiers on a battleground. Including this song on the original record would have strengthened its repertoire.
Minus the jarring production and a few disappointing tracks, the album is an overall well-grounded pop record. It’s evident that Swift has not lost her touch, and while it’s not quite as groundbreaking as “folklore” and “evermore,” it’s reassuring to know she’ll always carry a piece of her pop brilliance as she continues to release album after album.
“Midnights” is available to stream on Spotify and Apple Music.