Sunday, May 26, 2024

Taylor Swift’s confessional ‘Tortured Poets’ would have benefitted from an edit : NPR

Although Swift performs a variety of expertise and feelings, the music on her eleventh album feels skinny and is usually in service of lyrics that would have used a purple pencil.


That is FRESH AIR. Taylor Swift’s eleventh studio album, “The Tortured Poets Division,” arrives as Swift ascends to the head of popular culture after the large success of her 2023 Eras tour and the tour’s blockbuster live performance movie. And as this album was being launched, Swift added a further batch of songs, bringing the entire to a whopping 31 new songs. Rock critic Ken Tucker has been listening intently to “The Tortured Poets Division” and has come to assume it would signify an finish to a sure period in Taylor Swift’s music.


TAYLOR SWIFT: (Singing) Oh, right here we go once more. The voices in his head known as the rain to finish our days of untamed. The sickest military doll bought on the mall – rivulets descend my plastic smile. However it is best to have seen him when he first received me. My boy solely breaks his favourite toys, toys…

KEN TUCKER, BYLINE: I had a dentist appointment the day earlier than the brand new Taylor Swift album was to be launched at midnight. I swear I did not carry it up, however the lady who cleaned my tooth did. At 11:45 P.M, I am getting in my automobile, she mentioned. I will a comfort retailer to purchase a heat beverage, after which, at midnight, I will drive the abandoned streets listening to the entire thing straight via, perhaps greater than as soon as.

Such is the devotion Taylor Swift evokes at this level in her profession, and it is a devotion Swift does her finest to repay on “The Tortured Poets Division.” And I have to say, driving via empty streets at midnight would appear like an excellent option to expertise a track of romantic revenge, akin to “Who’s Afraid Of Little Outdated Me?”


SWIFT: (Singing) The who’s who of who’s that’s poised for the assault. However my naked arms paved their paths. You aren’t getting to inform me about unhappy. In case you needed me lifeless, it is best to have simply mentioned. Nothing makes me really feel extra alive. So, I leap from the gallows and I levitate down your avenue, crash the get together like a report scratch as I scream, who’s afraid of little outdated me? Try to be.

TUCKER: The album’s title track is an impeccable deconstruction of a boyfriend’s hapless hipster pretensions, a dude who thinks that utilizing a handbook typewriter qualifies him to be an actual poet, and he needs her to play alongside as his muse. As an alternative, she sizes up each of them as, in her phrase, fashionable idiots.


SWIFT: (Singing) You left your typewriter at my house, straight from the tortured poets’ division. I believe some issues I by no means say – like, who makes use of typewriters anyway? However you are in self-sabotage mode, throwing spikes down on the highway. However I’ve seen this episode and nonetheless love the present. Who else decodes you? And who’s going to carry you want me? And who’s going to know you if not me? I laughed in your face and mentioned, you are not Dylan Thomas. I am not Patti Smith. This ain’t the Chelsea Resort. We’re fashionable idiots. And who’s going to carry you want me?

TUCKER: One other second that made me smile at Swift’s present for puncturing melodrama happens within the refrain of “However Daddy I Love Him.” As her character runs off with a boy as her father chases after them, and she or he yells her determined riot over her shoulder, claiming she’s pregnant – whilst she tells us she’s not – simply to get an increase out of him.


SWIFT: (Singing) And I am working with my gown unbuttoned, screaming, however Daddy I like him. I am having his child. No, I am not, however it is best to see your faces. I am telling him to ground it via the fences. No, I am not coming to my senses. I do know he is loopy however he is the one I would like.

TUCKER: At a time when the remainder of popular culture is overrun with kick-butt, powerful, good, unbiased girls, Swift performs the precious service of reopening an entire vary of experiences and feelings. On “Responsible As Sin?” she tells her viewers there are occasions when she’s weak or flawed or passive – instances when, in a cleverly retrograde picture she slips into the track, she desires of getting a man write on her higher thigh that she belongs to him.


SWIFT: (Singing) I maintain these longings locked in lowercase inside a vault. Somebody informed me there isn’t any such factor as unhealthy ideas. Solely your actions speak. These deadly fantasies giving option to labored breath, taking all of me. We have already achieved it in my head. If it is make imagine, why does it really feel like a vow we’ll each uphold by some means. What if he is written mine on my higher thigh solely in my thoughts? One slip and falling again into the hedge maze. Oh, what a option to die. My bedsheets are ablaze. I’ve screamed his identify. Build up like waves crashing over my grave. With out ever touching his pores and skin, how can I be responsible as sin? What if I roll the stone away?

TUCKER: The music on this assortment – primarily keyboard textures embellished by guitars and light-weight percussion – is all the time within the service of the lyrics, like a lot of the people music from which Swift has lengthy drawn. This time round, although, there’s incessantly a thinness to the melodies and sometimes the necessity for a rewrite. An editor as good as Swift in all probability ought to have taken a pencil to her use of the phrase pretend information in a single track and, in one other, the sentence, you mentioned some issues I can not unabsorb. Oof.

The extra I listened, the extra this album felt like a turning level for Swift – a final massive burst of confessionalism, a clearing of issues off her desk earlier than she makes one other massive shift in her sound and subject material to depart tortured poetry behind.

MOSLEY: Rock critic Ken Tucker reviewed Taylor Swift’s eleventh studio album, “The Tortured Poets Division.”

Tomorrow on FRESH AIR, we speak with author Daniel Bessner in regards to the threats dealing with the leisure business, just like the merging of massive studios and what it means for tv and movie writers and for us, the viewers. His cowl story for Harper’s Journal is titled “The Finish Of Hollywood As We Know It.” I hope you possibly can be a part of us.


SWIFT: (Singing) I used to be alleged to be despatched away however they forgot to return and get me.

MOSLEY: Our interviews and opinions are produced and edited by Amy Salit, Phyllis Myers, Sam Briger, Lauren Krenzel, Ann Marie Baldonado, Therese Madden, Thea Chaloner, Susan Nyakundi and Joel Wolfram. Roberta Shorrock directs the present. With Terry Gross, I am Tonya Mosley.


SWIFT: (Singing) And nobody here is accountable, however what about your quiet treason? And for a fortnight there we had been without end working to you…

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