Eminem: Music to be Murdered by Album Review

I had to deliberate long and hard to decide where to place the album on the list.  It contains probably the best rap song of all time (yup, I said it) and also a really powerful song, that’s ne of the best of anybody this year.  Unfortunately, it also contains that Eminem-brand misogyny, violence, and toxic masculinity, as well as a denial of white privilege.  I used to overlook those things a lot because I was younger, and I could think of the guy’s real life upbringing and struggles and somewhat justify all that toxicity.  Rap is a historical record of racial politics and socio-economic struggle.  But also, it’s 2020, and these issues are at the forefront, and Marshall Mathers has had plenty of time to get counseling, perspective, and education.  So I could not bring myself to rate it in the Awesome grouping for those reasons.

Premonition- Intro:  I don’t care for all the violent and murder imagry in his whole catalog.  I do like the Alfred Hitchcock sample.  Eminem talks about fans and critics.  How each are fickle.  And at least he admits in the song he sounds whiny.  The system is unfair to most–just try to be a woman (of color) in the music business.

Unaccommodating:  Em can rap so fast!  I’m impressed anew every time I hear it.  He can both say words quickly, and write verse that makes sense, and has meaning.

You Gon’ Learn:  The chipmunkee backing is different.  I like when Eminem is cheeky/funny.  It’s hard to listen to his misogyny and all the “bitches” peppered throughout most of the songs.

Alfred:  This Hitchcock vocal is even better than the first.

Those Kinda Nights:  More misogyny.  I really don’t know Ed Sheeran’s deal.  He looks like an unfortunate nerd to be, and I think sings mostly romance-pop?  And here he is contributing to some major sexism.  I don’t care for that.  Also an English-accent “dance” has no place here.  The chorus is catchy, but I’d like less pro-sexual harassment/assult.

In Too Deep:  A slower song about not being happy in a relationship.  The backing music is nice, and Eminem provides very detailed writing that tells an entire story. 

Godzilla:  The chords are really fun and interesting.  The references like loch ness, and Blockbuster, etc… are many, and they are fun to hear come together.  You can hear the background music begging to ramp up before the greatest rap verse of all time.  I DO NOT KNOW HOW HE BOTH RAPS SO FAST AND SAYS SOMETHING SENSICAL WHILE DOING IT.  All caps necessary.  It is so fast from 2:57 to 3:27 (and also preceded with pretty fast rap).  And I saw him do it live on YouTube so I know it’s not just tricky engineering–Eminem can back it up.  He is the most talented rapper of all time.  This song beats the prior best, most fastest rap (also set by him) “Rap God” Jesus!  And this is the primary reason I grit my teeth through all the misogyny because the man has pure talent–though I’d like it if he’d drop the hate.

Darkness:  Good, subtle use of the sampled song.  This song transitions from what I thought was a personal account of Eminem’s own demons, into the Las Vegas spree killing.  Good word play with “shots” and “loaded” between drinking and shooting.  The song sends a pretty strong message about mental illness and America’s lack of gun reform.  It really hits home without crossing the line into preachy.  Well done.  The song ends with the many, many, many school and public spree killer news announcements, and it’s super-effective. Perhaps the best thing Eminem has ever said.  Respect.

Leaving Heaven:  Some war and PTSD imagry.  He speaks about race, and socioeconomic status.  And he’s right that he dealt with poverty and bullying and a broken family.  Still, I don’t agree that Eminem’s difficult background means he doesn’t have white privilege.  He still has benefited from the color of his skin.  He can occupy certain spaces that POC are gate-kept from.  So I don’t buy into that line of thought, but yeah, poverty makes things hard, as does reverse racism.  

Yah Yah:  I like that it’s upbeat, and I enjoy the group singing, which reminds me of a party.  I didn’t like the, “yaw yaw yaw, yaw yaw” sequence.

Stepdad:  Sample of a dad being rough with a kid.  Some pretty fucked up images of abuse featured in the song.  And fantasy of revenge.  If the listener can get passed the graphic content, they’ll hear a complete and detailed story.  It’s good writing about a tough topic.

Marsh:  A lot of call backs to his own alter ego and catalog. Clever references sprinkled in to the song.  If there was a throw away on the album though, this would be it.  A little weaker than the others.  

Never Love Again:  Catchy.  Beautiful inclusion of piano, and layered voice.  The breakdown rap is interesting and catchy.  The song makes it clear that Eminem’s toxic relationships are just as much addiction as his substance abuse.

Little Engine:  The syncopation is the pre-chorus is good.  It’s expert the way Eminem is able to portray a conversation between two people with just his voice.  And it is neat that the words in the chorus sound like the sound of cars zooming around a track.  “Vin vin go” or something.  

Lock It Up:  An R&B vibe with the slow background music.

Farewell:  I don’t like listening to this kind of talk.  The slut and cunt of it all, is just too much misogyny. Good chorus or not.

No Regrets:  Gosh, the featured sounds like Akon a lot.  Makes me miss those early ots!

I Will:  To show success in terms of violence and “murdering” the beat is such toxic masculinity.  I hear that from male stand up comedians to: Killed it, murdered out there, etc…  And they are a problematic group.  I like that Eminem wants to prove his stature at the top of the rap game, however.  Just use better language.

Alfred-Outro:  Ties in with the last song, and shows the album was about proving the last song true.

Rufus Wainwright: Unfollow the Rules Album Review

Unfollow the Rules:  This was just a meh song until the high notes.  Those notes ratchet up the skill and also emotion, placing the song higher on the list.

Peaceful Afternoon:  I liked the maraca interlude.  It gave me something interesting to break up the lovely singing and piano.

This One’s for the Ladies:  The wonderland makes me think, Alice, so I like the strumming, and also the teeny bit of experimentalism.  There’s just a hint of distortion, and the chorus sounds dreamy.  Also, it’s a nice change to hear Wainwright sing from a lower register.  Not all the time–but once in awhile is nice.

Early Morning Madness:  I like the occasional odd note.  And the slight dischord.  In much of this album, I feel like Wainwright has gotten a bit too comfortable.  The material is beautiful, as always, but rote.  This song has a bit of sharpness, that sets it apart.  But he also keeps his roots in singing in a sweeping mannar, like his listeners enjoy.  And the high note, where there’s a minute of Sargent Pepper, is great!  Inclusion of ownnawannapias is always welcome.  Seriously, artists, less claps, more ownnawannapias.

Devils and Angels:  The piano here is amazing.  It’s like restrained frantic, then it does a scale.  The beat!  Synthesizer-inclusion?!  I really like a mix of Wainwright’s theatrical voice, beautiful piano, but a pop of experimentalism.  It changes it up a bit, while keeping everything Wainwright excels at.  I’m starting to wish this album had started at the Wonderland song, and gone with this more experimental, unique theme.  If there was a contest for best song of 2020, this one would easily be in the top 5.  Hey, maybe I’ll do that…

Alone Time;  More boring again, but at least there’s some displeasing notes to capture attention.

John Legend: Bigger Love Album Review

Ooh Laa:  The album opens on a sex song.

Actions:  Like the last song there is a bit of a sample.  It’s familiar, yet evolved. “Actions speak louder than love songs.”

I Do:  Some funk flair in this one.

One Life: A disco sound.  The background instrumentals are strongest here.  The sentiment is motivational.

Wild:  The beat is nice.  The chorus is the first one that really made me excited on the album.  I can hear electric violin(?) in the background, and I always like that.

Bigger Love:  This sound reminds me of someone else.  It’s got a bit of calypso.  A female voice comes in, but not til very late in the song.

U Move, I Move:  More of a proper duet.  I think it would sound better of the female voice was a bit more resonant.  And her accent distracts me a little.

Favorite Place:  Yuck.  Both for the subject matter (lesbians are the wrong audience for straight person sex).  I know good writing is specific, but maybe make it a little more generic so I don’t have to picture stuff that’s disgusting to me. And the word choice is bad.  Really bad:  “I love it when my roller coaster dips, right into your ocean.”  Like, he was going with some sea-symbolism/metaphores, and suddenly there was a fucking rollar coaster?  Also, gross.  I do like the strings on instrumentals.

Slow Cooker:  At least now the metaphors are consistent.  It’s still a little weak.  The brass sounds nice.  The layered voices in the last third of the song sound good.

Focused:  I just feel like the writing is weak throughout the album.  I get that he’s happy and in love and lusting also.  I see he’s trying to convey love and make the songs show feelings.  They don’t all that much.  Too many cliche’s.  Too many simple sentences.  The words need to be better.  The sentiment rings hollow purely because the writing is elementary.  At least this song has some good singing.  

Conversations in the Dark:  It’s a nice sentiment that he wants to be with her, never change her, and he won’t break her heart.  It’s all very loving, and that’s so nice to hear.  I like this song.

Don’t Walk Away:  Here’s an, ‘even if you’re mad, don’t walk away’ song.  The interlude by Koffee is interesting and different.  The echo adds to the song.

Remember Us:  What I’m getting from this song is that not all the writing on the album is mediocre to bad.  This one is good and fine.  That tells me some editing should have occurred.  Because keeping weak songs only gave me a bad impression of the whole album.  I’d rather have good songs.  I like many songs, but if they’re weak, throw-aways, it makes an album worse.  Good incorporation of Rapsody.  It’s current and goes with the sentiment of the song.

I’m Ready:  Falsetto singing.  It’s a good change.  More of a true R&B song.

Always:  A continuation of the falsetto and R&B, nearly the same song as the last.  The swirling strings in the background are nice.

Never break:  Perhaps the strongest track on the album, the singing takes the front seat, but the piano is played beautifully.  I would have liked to hear the whole album sound similar to this.  I think this was played after their miscarrage too, giving it extra sentiment.  Adding just a touch of chorus singing, was just enough.  A good closer.

There were many songs on this album that I didn’t like something about.  But each of those disliked songs had at least one redeeming factor, or this entire album would have been ranked lower.

The Lone Bellow: Half Moon Light Album Review

I Can Feel You Dancing:  Would have benefited from another verse.  It’s too much chorus repeating.  I do like the touch of brass.

Good Times;  The bass is cool, there are brass instruments which is great, and the keyboard is nice.  I like the brass!

Wonder;  The harmonic humming sounds good, then when it turns into the sample material it’s still somewhat unique.  They do just enough to tell you it’s a take on the original and call it back, but most of the song is completely original.

Count On Me:  The bass drum heart-beating throughout the song is the strongest part of this one.  The lyrics are a little cliche’, but they sound nice sung as a group.

Wash It Clean:  It is a nice song, but larely forgettable.

Enemies:  Quiet, very quiet.

Interlude:

Just Enough to Get By:  This song suddenly sounds like a completely different band.  There is no indication of this singer or sound prior to this track.  So I like it, it’s a little soulful and bluesy more than the rest–but let’s hear some of this elsewhere on the album.

Martingales:  This song is also a bit of a departure from the rest of the album (in a good way) save for the choral backing.

Illegal Immigrant:  Not an attention getter.  Too soft, too unassuming.  I do give props for any country-leaning group to tackle anything even adjacent to race relations.  This is a pretty mellow and coded and safe take on a hot-button issue.

Friends:  More jazzed up, but I don’t really like that talk-singing stuff.  I do like a touch of whistling so good on ‘em for that.

Dust Settles:  I think it might be a heavily coded political unity song.  And it tells a story in detail, as a good country song tends to do.  But my opinion is that it’s not a very original, or genuine story.  It’s a bunch of cliche’s and probably guesses about how other people feel.  I don’t get a big sense of introspection or personal feeling from the song.  It’s a bit distant, instead of from the heart.  Again though, I really give the band credit for writing on anything political–however coded and arms-length.

August:  big strings are the reason I was attracted to Lone Bellow’s earlier work.  So I’m happy some are included.  But disappointed they’re not center-stage in the song, or featured on more of the album.

finale:

Lady Gaga: Chromatica Review

I don’t think the Grammys recognized Lady Gaga for anything this year. Correct me if I’m wrong. And I actually stand by that decision. But also #Scammys

Free Woman:  Nice female-positivity song.  Seems like 2020 is a good year for feminism to be in music.  It would be a better song if it was more anthemic, because the lyrics are trying to go that way.

Fun Tonight:  If you read my posts, you know I enjoy a bitter song a lot!  And this seems to be a break-up song.  But I’m just left wanting…more.  I don’t know what it’s missing.  But it lacks something.

911:  The first song on the album (track 8) that I thought fit the name of the album, chromatica.  It has a futuristic sound with the auto-tune.

Plastic Doll:  Good imagery comparing some dude trying to control her, and playing with her emotions, to a doll.

Sour Candy:  It goes with the break-up theme, that she’s hard on the outside, but inside…

Enigma:  Some singing finally.  Shows vocal range, unlike the material to this point.  Too repetitive and forgettable other than that.

Replay:  The distortion is the star of this track.  Shows her state of mind, which is a neat trick.  I also, like the sentiment, “Who’s the one who pulled the trigger you or I?”  Then later, “doesn’t matter– the damage done.  You had the gun, you had the gun.”

Sine From Above:  I HATE this duet with Elton John (also the mathematical spelling of sine in a song that uses the word to mean a symbol).  Before I knew who it was, I thought it sounded terrible.  His voice is shot.  When I saw it was a major player in the music industry–I was just disappointed.  If you’re going to duet with a musical icon, make it a song where he belongs, and give him material that makes him sound good. This wasn’t it.  The best part of this song was the last 15 sec where the music speeds up.

1000 Doves:  I want to like the symbolism in this song.  Because I think it’s a bonus she’s trying to use metaphors and everything.  But it’s an elementary try–the comparisons are cliche’ and I’m left with a few high notes to redeem the song.

Babylon:  Gaga sounds EXACTLY like Madonna in “Vogue” the talking is identical.  Nope.  Get your own style and songs.

Chromatica (interludes):  they’re nice.  I like them and was left wanting more each time.  I gather they are a type of separation for the musical chapters.  I say that because I was wondering why the album doesn’t sound futuristic until a third of it is finished.  And I realized there was a break-up to end the first third, then a 2nd chomatica interlude, and a definite change in feel/sound.  If that’s the case, I say throw out the entire first chapter.  Every song was weak and generic.

I was listening to the Lady Gaga album, and a song came on that immediately made me amped up and excited.  I thought–finally!  It took til track 16, but here is a show-stopper.  It was the next song in her catalogue, Bradley Cooper singing “Black Eyes” off A Star Is Born Soundtrack.  But that little story tells you how I felt about Chromatica.  There was some strong ‘remix for the gay club scene’ vibes from this album.  It’s dancy.  I did like, what I gather, is supposed to be 3 chapters of a story.  It’s a neat concept, and I’d like to see it done better in the future.  On this album, you could unfortunately toss chapter 1 and 3 in the trash.  Each of the songs on the first and last thirds of the album were weak to bad.

Selena Gomez: Rare Album Review

Does it feel personal to anyone else that Bieber got 4 Grammy nominations for an unpopular album, full of derivative lyrics, and Selena was snubbed?  Like, she calls him out in this album, this solid, good album.  But he gets the noms and she doesn’t?  It doesn’t make sense to me.  Unless politics and or money were involved…

Boyfriend:  I like the sentiment and the slight distortion is the song.  

Lose You to Love Me:  About the unfortunate codependency with that toxic-douche, Justin Bieber.  He intentionally did shitty things just because he didn’t give a fuck, and she kept giving and giving, despite the signs.  And getting sucked back in.  It’s good to hear her gaining her independence.

Rare:  All the vocals are very mid-range, but there is enough electricity in the background to keep it spicy.  And I like that Gomez found some self-confidence, and along with it, boundaries.  The third catchy song on the album.

Souvenir:  It’s OK.  Forgettable though.

Look at her Now:  The “mm mm mm” is an ear-worm.  I like that this song tells a detailed story.  And I also like that the girl is triumphant, despite struggles.  Does that, “Wow” and “yeah” sound like Taylor Swift?

She:  Selena telling us what she would have told her younger self.  It’s a nice twist.  And it tells a story, and the “why” of where Gomaz is at today.  The song is a bit echoey and it nicely conveys a different plane of reality where this conversation would be possible.

Crowded Room:  Very sultry, and shows some vocal range with some higher notes.

Vulnerable:  Too repetitive.  Not interesting enough.  Also, not deep enough lyrically to counter for those weaknesses.  The highest note she has sung so far though, so I like that.

Dance Again:  One of the catchiest songs on the album.  The cadence gets a little faster and makes the listener pay attention, and the repetition of “feels so” is very effective to make it an ear worm and lend to a more electronic feel.

Ring:  It’s a nice song.  It’s a catchy song.  The “ring, ring, ring” works.  The guitar has a nice Spanish flair.  But it reminds me of Megan Trainor–who I found to be very phony on Songland.  It’s got that retro song that “All About that Bass” has.

A Sweeter Place:  SelenaThe chorus and “do do dooo” are the most effective thing about this track.  Dislike on the interlude, but it’s relatively short.  And the moag at the end is superb.

People You Know:  She’s right “what hurts the most is when people can go from people you know to people you don’t.”  It’s very relatable and it’s a catchy song.

Cut You Off;  Comparing a toxic relationship to substance abuse.  They’re the same, and she dealt with both.

Let Me Get Me:  I like how it reminds me of her other single, 

With the “ ahh-o-woo” sound.  When the song came on, it immediately made me excited.  I like the speed, and I like everything happening between the catchy chorus, and the slower bridge.  Claps are used sparingly, for an attention-getting effect.  One of the catchiest!

Kinda Crazy:  Just Ok, too much repetition.

Fun:  I like the pausing effect in this song.  There is a lot of space, and it sounds good. I don’t wanna sound all Taylor Swift conspiracy theorist (I do, and I am), but I can hear a couple of the call outs in her voice.  I know it is her saying,   “Fun” and “mmm” and “yeah” in this song.  Credited or not, it’s her.  And they’re friends, so it isn’t that much of a stretch.  

Feel Me:  The common break-up wish that the other party misses you, thinks of you, and realizes you were the best.

Katy Perry: Smile Review

Do I think this album has some catchy (old term) radio-worthy songs? Indeed. Does it deserve Grammy nominations? MMm, I don’t know if anything here was substantial enough to warrant that. Do I think Taylor Swift was featured on one of these songs? Yes I do. I don’t care what anyone says, I can hear it. Maybe someday the truth will be revealed.

Never Really Over:  Perry really knows what she’s doing when she picks (does she write her own stuff?) her songs.  This first track immediately grabs the listener by the ear and pulls them into the album.  It’s got that hook.  Masterfully catchy.

Cry About It Later:  That gallop beat!  It makes it exciting, it makes the song good for dancing and running alike.  And it’s a cool thought to have fun now and feel pain later.  The guitar interlude in the latter part of the song took it into retro territory, which I think was unintended.  

Daisies:  Did Taylor Swift write this, did she sing at all, and is she credited?  It has her stamp all over it.  I am pretty sure that’s Taylor’s voice, like you can especially hear it come in on 0.26 sec. And blended with Perry’s voice on 0.44.  And on 0.52.  Also 1.20 and 1.34.  After 2.16, it’s an obvious duet, so I don’t understand why she’s not credited…  Other than Kaylor reasons…  You can hear it well at these time stamps:  2.32, 2.37, 2.42.  Or if it’s words that are easier for you to hear: “nowhere” “ cover me in daisies” too.  Daisy is a decidedly Kaylor symbol.  Lyrics like, “put our hopes in a box in the attic” and “take those sticks and stones, I could build a house” and “tell me that I’m crazy”

Resilient: The optimism in this song rings genuine, which I like.  Perry can easily veer into the superficial, and that didn’t happen here.  The imagery of a flower growing through the cracks of concrete is both nice, and holds up.  And she sticks with the metaphor throughout the song (other than one gold reference), so that’s good.

Not the End of the World:  Gosh, how many ways can I say that Perry knows how to pick material that is a catchy, ear-worm?  This is too.  Nice fast speed, some neat background tricks (ghost laughter) with the production.  A sample phrase, but blended within the song beautifully, so it’s meshed, not separated.  Gets stuck in my head every, damn, time.

There were several bland love songs in between.

Harleys In Hawaii:  I am not a fan of the lyrics.  It’s cheesy drivel.  But the song got points for production value and that sustained note Perry sings toward the end.

Only Love:  Has some nice choral backing, and a pretty acapella outro.

What Makes a Woman:  I think it’s good to ask what makes a woman.  So that society at large, can realize a lot of it is performative, and not the characteristics that actually define the female.  Women can be anything.  And Perry ( clumsily) points this out.  Hair length, softness of skin, and makeup really don’t matter.  I’m not a fan of bringing up bitch to describe women, nor do I like the over-the-top compliments to women, for biological things beyond control.  Perry gets halfway to a feminist perspective, in challenging factors that define the traditional feminine.  But she also misses the point that women are also no better than men.  That’s not what feminism is going for.  We just want to be treated as people, no worse, but also no better.  So C+ for broaching a stigmatized subject, but points off for not entirely understanding the goal.  Also, that last line is a rhyme cheat, “turnin” and “woman” do not rhyme..  But good overall effort.  And thanks for the bravery for putting this out there when our patriarchal society makes feminist a bad word.

Dua Lipa: Future Nostalgia Review

Let’s get right to it:

Don’t Start Now and Cool are ones that’ll get stuck in your head, though the latter has some decidedly Bieber-inspired vocal similarities.  

Pretty Please:  It’s a stand-out on the album, taking more of a risk than the other songs.  The unapologetic sexuality, especially from a female perspective, is a nice addition.  And lends some validity to the artist.

Hallucinate:  Sounds like a rip-off of Lady Gaga.  WHICH I think is fair since Gaga’s entire fashion, sound, progression as an artist, and career are a direct rip-off of Madonna.

Love Again:  The best thing about this song is the use of the sample, and the occasional strings in the backing.  The signing and the vibe are disco-esque.

Break My Heart:  The syncopation, elevates this one from just another disco-Gaga tune to a little original.

Good In Bed:  This is the best song on the album, because of the playfulness of tempo.  There are the scales which shows any vocal talent.  The repetition of words and syllables make the song a catchy, ear-worm.  And it’s cheeky and sexual.  It’s reminiscent of Lilly Allen, without being a copycat.  This is the song that shows musical influences without just straight up plagiarism.  

Boys Will Be Boys:  A feminist anthem!  I love this song with it’s content about social issues such as patriarchy, gender roles, and sexism.  

The album reminds me a little of the ‘Bring It On’ Soundtrack.  Nothing ground-breaking here, but a fun listen all the same.  There are glimmers of potential on this album.  And when Dua Lipa embraces her own voice, that’s where things go right.  This artist reminds me of a hybrid between Katy Perry’s California-girl lite pop and 1980’s vanilla, Debbie Gibson. And too often she veers into the easy, superficial sound rather that challenging the status quo of pop.  

Don’t Ever Say a Mean Thing to a Pregnant Woman (Says Patriarchal Society)

This whole conversation started because on Karlie’s baby bump video where she says, “Good morning baby” I commented, “nope.”  It was a (softly) negative Twitter comment in a sea of “congratulations,” “you will be a great mom,” and “you’re glowing.”    

Honestly, I take offense that all the comments were reverential.  Considering the negativity I see on EVERY SINGLE OTHER KK post, and Twitter as a whole.  It’s backward.  And here’s why:

So is it OK if I say Lady Gaga copies Madonna’s career?  Because we don’t know she’s pregnant?

How about Jared Ku$hner.  Can I say he’s corrupt?  Because he’s a man, and can’t get pregnant?

And would it have been OK to say something negative to Karlie 6 months ago?  Because she probably wasn’t pregnant then?

Socially chastising me for “being proud of saying something negative to a pregnant woman” is so predictable.  You’re making a judgement call.  And why?  Of course, socially-imposed “rules” are held up by individuals in society.  But, is this a good rule?  Why is it a thing?  

Is my comment going to cause Karlie’s baby harm?  I don’t want to put anything specific, because just-in-case.  But you get my point, that it’s probably unlikely that reading one Twitter comment is going to hurt either mom or baby.  Are women more “delicate” when they’re pregnant?  Women (for Millennia) doing agriculture and having a child right in the field then continuing on with work, prove–no.  And nutritionally, it’s a myth that pregnancy is the most challenging time.  Lactation, then the growth stage are harder on the body [Animal Science, major here!].  

Does pregnancy earn a woman more respect?  I think so, in our society (hence the social stigma), but I am a hard disagree that it should be this way.  A woman should be treated better, because she’s carrying a child?  But not at other times in her life.  Is pregnancy the most important job or function a woman ever will have?  Because a child is involved, women are more revered than normal?  To me, the fact I have to ask these questions, and the fact the answers are probably all yes, (in our culture) is wrong.

To me, that sounds more fucked up than treating a woman like a human, even if she’s carrying a child.  Don’t misinterpret my words–I am NOT suggesting people abuse pregnant women in any way, shape, or form.  But is it right to treat her like porcelain?  Nope.

The Lakes: Analysis of Taylor Swift’s folklore (from larger post)

This is a more digestible portion of my album analysis:

Here, I have tried to analyze what and who each track of Folklore is about.  Which is complex because it’s not in a linear order.  Names are obscured.  Facts may be reality or story.  The narrator is unreliable.  And this whole thing is going to be from a Kaylor perspective, because that’s how the songs, and Taylor Swifts catalog as a whole makes the best sense to me.  I’ll show you what I mean.

I finally got The Lakes, and as such needed to add my analysis to the main post. And you really can’t without discussing Hoax too. They’re companion songs, yin and yang, can’t have one without the other.

Hoax:  I’m glad Taylor released an additional song, because I think this one is too negative and depressing to end an album.  It is melancholy and Taylor sounds a little defeated in it.  She basically says she’s sad, but nothing else will work, she is going to live with the sadness because her heart is taken with this person.  It’s a little bit, ‘victim of domestic abuse’ a mentality.  “This has frozen my ground”–pay attention, this becomes important later.  The piano and strings are beautiful, but the lyrics are just so dreary.  Don’t get me wrong, it’s a good song–I just wish Taylor was happy, and the subject was not hurting her.

The Lakes:  The first sounds remind me of when a movie shows a record player.  A litter antiquated and slightly degraded.  I think this song is chock full of poetry references, but let me be honest–that is not where my interests lie, so I didn’t take the time to do a true analysis.  The musical backing sounds much more optimistic than the prior couple of songs on the album (Peace and Hoax).  And Taylor makes sure to indicate she wants to leave her life for this dreamscape–but not without her muse.  “A red rose grew up out of ice frozen grounds…” is a good symbol for the barren loneliness and horribleness that Taylor’s relationship with her lover grew out of.  Things were bad and cold and icy, but from that stemmed (pun!) a beautiful red flower (glitch rose, Klossy?). 

Since it follows the depression of hoax, it shows Taylor has come through all of that negativity, that’s not where the story ends (a break up and toxicity) afterall.  It’s a more optimistic closer–thank goodness.  Also, Taylor is known to start the next album from the last song of the previous so this gives the listener a hint maybe the next album will be from some English chateaux where Taylor is holed up with her lover, doing what she does best–writing.