Arriving this Friday, ‘The Tortured Poets Department’ is a fusion of the elements mentioned earlier. It captures Taylor Swift’s artistic evolution, showcasing her re-recorded catalog through a lens of synth-pop anthems, poignant breakup ballads, and thought-provoking reflections.
Taylor Swift’s most recent era remained shrouded in mystery. Would it echo the moody vibes of ‘Midnights’ or the folk-inspired sounds of ‘evermore’? Perhaps it would draw from the country or ’80s pop influences found in her latest re-recordings. Alternatively, it might blend elements from its two predecessors: the revenge-pop of ‘Reputation’ and the literary Americana of ‘folklore’.
The Tortured Poets Department. An anthology of new works that reflect events, opinions and sentiments from a fleeting and fatalistic moment in time – one that was both sensational and sorrowful in equal measure. This period of the author’s life is now over, the chapter closed and… pic.twitter.com/41OObGyJDW
— Taylor Swift (@taylorswift13) April 19, 2024
At times, her 11th album exudes the essence of a bloodletting—a cathartic release following a profound heartbreak. This emotional outpouring is conveyed through soaring vocal performances, poignant verses, and dynamic, synth-infused production that amplifies the potency of Swift’s storytelling.
A delightful surprise awaits listeners in the lead single and opening track, ‘Fortnight.’ It’s as if ‘1989’ has matured, and to add to the intrigue, it features Post Malone. While the pairing may seem unexpected, Swift’s admiration for Malone’s ‘Better Now’ has been evident since at least 2018.
But Daddy, I Love Him” marks the resurgence of country Taylor in several ways. The songwriting style is reminiscent of a fairytale, complete with a full band chorus and a lively acoustic guitar riff. The lyrics playfully reverse expectations: “But Daddy, I love him / I’m having his baby / No, I’m not / But you should see your faces.” Babies also make appearances in other tracks, such as “Florida!!!” and the bonus track “The Manuscript.
In the fictional track “Fresh Out The Slammer,” a captivating psychedelic guitar tone sets the stage, only to be gradually enveloped by the windswept production. Meanwhile, the new wave-adjacent song “My Boy Only Breaks His Favorite Toys” revisits the theme of “Barbie.” The lyrics playfully express that playing pretend felt more meaningful than interacting with the Kens, all because “he took me out of my box.”
Before Florence Welch launches into her verse in “Florida!!!,” the chorus’s emphatic repetition of the song title resonates with the nostalgic indie rock sound of the 2010s. It’s almost as if Taylor Swift ventured into an alternate universe, offering her own spin on Sufjan Stevens’ iconic album “Illinois.”
As another title states, “So Long, London,” indeed.
While it would be unfair to interpret Swift’s songs solely as personal diaries, the fifth track on this album—often considered the most heart-wrenching slot—draws uncanny parallels to her relationship with a certain English actor from whom she parted ways in 2023. When juxtaposed with a dreamy love ode like ‘The Alchemy,’ with its allusions to ‘touchdowns’ and being ‘cut from the team,’ it becomes clear that art mirrors life.
While revenge remains a recurring theme, ‘The Tortured Poets Department’ introduces fresh complexities. In ‘Who’s Afraid of Little Old Me?,’ Swift melds the musical audacity of ‘evermore’ and ‘folklore,’ punctuating the bridge with a resounding bass. Yet, she departs from the victimhood narrative, embracing self-assurance—warts and all—borrowing sensibilities from the weapons-drawn obstinacy of ‘Reputation.’
“Who’s afraid of little old me?” she sings. “You should be,” she responds.
