Tag Archives: The National
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First Impressions of Taylor Swift’s Evermore

11 Dec

My first listen of Evermore was during a work day. I wanted to note my genuine and untainted (by Tumblr ideas or Twitter takes or magazine blurbs) thoughts, but also I had to work. So I wrote my impressions on a post-it, then had to really struggle to get the type OFF of my work network. So here is a more readable version.

Willow:  I am immediately relieved to hear the instruments.  It’s automatically more alive than folklore.  I also like when she sings at a higher octave, and the faster cadence in the chorus.

Champagne Problems:  Nice piano.  Very quiet, stripped down song. The little interlude is a bit faster, and the backing is quite Enya. I like the one for the money two for the show lines.

Gold Rush:  Faster singing.  Hair fallin’ into place like dominoes is a very cleaver line, packed with meaning. Very sudden ending.

Tis the Damn Season:  Sounds like a bitter song, and you know how I like that!  The emotions are very strong through her singing here.

Tolerate It:  An introspective song, that tells a detailed story, but I’m unable (so far) to figure out who it’s about?  $cott B? Her father? “Reading head low.  Older and wiser.  Wait by the door like I’m just a kid.  I greet you like a battle hero’s welcome.  You were out building other worlds.  I made you my temple…  Now I’m beggin for footnotes.  Always takin’ up too much space or time.”  The production is minimal, which lets the listener focus on the lyrics.

No Body No Crime:  I love the instruments a lot!  Is that more harmonica?!  I also like the faster singing and cadence of the song.  I also like the “I think he did it” part.   It’s a murder mystery song.  Estes?  And I’m listening for hints that it’s based on someone real.  Husband’s acting different and it smells like infidelity.  I’m gonna call him out.  I think he did it [cheated on her?  Or killed her?] but I just can’t prove it.  He reports his missing wife, and his truck has some brand new tires.  Esty’s sister?  Took out a big life insurance policy.  The pronouns and subject of the song switch several times.  I think this crime song morphs maybe more into the love triangle situation.  She thinks I did it but she just can’t prove it.  It’s the campainion song to Goodbye Earl song

Happiness:  This has some similarities to folklore.  This song has a quiet rage.  “I can’t see facts through all my fury.”  This song shows how Taylor has matured, and she says “I can’t make it go away by making you a villian.”  Taylor is not going to write one of her favorite fuck you broken up songs.  She can sit with the sadness, heartbreak, and anger, without lashing out.  I like when the instruments pick up toward the middle.  No one teaches you what to do when a good man hurts you and you know you hurt him too.  It’s the difinitive ‘Kaylor is over’ song.

Dorothea:  Another song that tells a detailed story.  Someone in Tupelo?  An old friend?  “Skippin’ the prom just to piss off your mom and her pageant schemes.”

Coney Island:  The National’s voice sounds terrible–the song would be a lot better without it.  His voice reminds me of that last Jonny Cash album after he was old and his voice was shot.  But he was a legend, which salvaged it.  The production is sparse.  I like the story this song tells, but The National really ruins the song.  I think parts of this song might reference her dad?  ” If I can’t relate to you who am I related to?”

Ivy:  I like the warmer instruments on this track–on the others that don’t have it I miss it.  “Grieving for a livin'” is a neat line that shows Taylor writes songs about her heartaches.  Another story of Karlie cheating on Jo$h.

Cowboy Like Me:  The guitar is nice.  The story is bleak, but detailed.  The syncopation of the “I had tricks up my sleeve, takes one to know one” is both interesting and calls attention to the lines.

Long Story Short:  The beat is already fast and good.  Taylor is rising above drama here.  She’s a more mature version of herself.  The faster, more pressing ending is good.   I think this song is mostly about Taylor’s label dispute and masters battle.  I tried to pick my battle til the battle picked me.  “War of words.”  I was in an ally surrounded on all sides.  Fell from the pedistal.  Right down the rabbit hole.  Wrong guy [label?]. No more keepin’ score, I just keep you warm.  Long story short it was a bad time.  I looked better in the rearview.  Past me (she’s giving $cott advise for his future business partnerships with artists) I wanna tell you not to with these petty things.  I’m not sure what the song is about, but my first impression is that it’s not a romatic relationship.  I think the you in “I’m all about you now” is her new label–who is beniffiting wildly right now, P.S. Long story short–I survived.

Marjorie:  There’s a sadness to Taylor’s voice.  “Never be so polite you forget your power.  Never weild such power you forget to be polite”  It’s good advice.  I take it this was her grandmother’s advice.  She’s not dead to Taylor, because her advice can still be heard.  But she does wish she had asked more, and written down more things, before her Grandmother died.   “I still feel you all around.”  This song means a lot to me personally, because I had/have a very close relationship with my grandma.  And I believe the sentiment someone can live in your heart.

Closure:  The intro sounds like construction.  But like small scale.  Taylor is reeling from this break-up, and Karlie’s concern is just to get closure.  Taylor isn’t having it.  The song itself doesn’t offer much after the lyrics, which are complete and good.

Evermore:  Sweet singing over beautiful piano.  Writing letters addressed to the fire.  It’s good imagry of letters I never sent.  Bon Iver sings falestto here.  It’s not as intrusive as The National.  And the layered effect is still complex and impressive.  “This pain wouldn’t be forevermore at the end of the song.”  So a little of a brighter ending than folklore, despite this being a break-up, broken heart album.

Right Where You Left Me

It’s Time to Go: