đ” Is Taylor Swift Still This Generation's Greatest Songwriter?
Plus, St. Vincent's return to form. Fontaines D.C. go trip hop.
Billboardâs Hot 100 saw history made at both ends of the age spectrum this month. Six-year-old Rumi Carter, daughter of BeyoncĂ© and Jay-Z, became the youngest female artist ever to chart with her contribution to her motherâs song Protector. Just one week later, Ariana Grandeâs 98-year-old grandmother, Marjorie Grande, became the oldest person ever to chart with her feature on Ordinary Things.
Click here for a Spotify playlist with the songs mentioned in this newsletter.
BIGGEST Songs of the Week đ
Taylor Swiftâs most recent offering, The Tortured Poets Department, presents a formidable challenge to listeners with its extensive double album format, clocking in at over two hours with 31 tracks. Notably, TTPD marks Swiftâs first departure from single-word album titles since 2010, reflecting its ambitious scope. However, despite its considerable length, the album lacks both the catchy hooks and emotional resonance that defined Swiftâs earlier records. TTPD falls short of capturing the passion of Red, the whimsical charm of Speak Now, the infectious melodies of 1989, and the introspective vulnerability seen in evermore and folklore.
Swiftâs attempt to delineate her career into distinct âerasâ with unique sounds doesnât bear fruit with TTPD. It treads familiar ground without recapturing the enchantment of her previous work. Perhaps Swiftâs prolific outputâââ10 projects in just four yearsâââhas taken its toll.
Without a doubt, Swiftâs devoted fanbase, the Swifties, will obsessively analyze every lyric and find enjoyment in their ability to decipher the albumâs intricate backstory. TTPD may even secure the Grammy for Album of the Year based on popularity alone, much like Swiftâs previous record, Midnights. However, the albumâs reliance on lore shouldnât overshadow its mediocrity. Being able to understand the hidden meaning of lyrics shouldnât mask an albumâs flaws. Casual listeners shouldnât need to wade through a sea of Taylorisms to appreciate the music.
Despite its title, The Tortured Poets Department lacks the poetic essence it promises. Swiftâs attempt at profundity often results in verbosity. Up until now, Swift has always been able to capture the essence of relationships in vivid detail. Take a look at All Too Well:
âTime wonât fly, itâs like Iâm paralyzed by it / Iâd like to be my old self again, but Iâm still trying to find it / After plaid shirt days and nights when you made me your own / Now you mail back my things and I walk home alone.â
With just half a verse, she paints a complete picture of a love lostâââthe paralysis of time, the struggle to rediscover oneself, fading memories, and the quiet devastation of being left alone. In TTPD, Swift sets out to explore two distinct relationships (Matty Healy and Joe Alwyn). Unfortunately, despite a sprawling two-hour runtime, uninspired lyrics and weak metaphors fail to paint a vivid picture of either relationship.
In February, Swift expressed, âI have never had an album where I needed songwriting more,â making it even more disappointing to see an artist of Swiftâs caliber falter so significantly in the lyrical department on her latest album.
The title track showcases perhaps Swiftâs weakest lyric to date, with the painfully awkward âYou smoked then ate seven bars of chocolate, we declared Charlie Puth should be a bigger artist / I scratch your head, you fall asleep like a tattooed golden retriever.â This trend continues on Florida!!!, a collaboration with Florence Welch, marred by the line: âMy friends all smell like weed or little babies.â
So High School suffers from an irredeemable rhyme: âAristotleâ with âTouch me while your bros play Grand Theft Auto.â I Hate It Here includes the head-scratching lyric: âMy friends used to play a game where / We would pick a decade / We wished we could live in instead of this / Iâd say the 1830s, but without all the racists.â These both sound like lines an editor should have vetoed.
The missteps persist with Down Bad, where Swift employs a baffling alien abduction metaphor. And on But Daddy I Love Him, she sings, ââIâm havinâ his baby / No, Iâm not, but you should see your faces.â This bait-and-switch honestly feels like satire.
While there are occasional standout stanzas, they are too often overshadowed by the mediocrity that permeates this album. Itâs challenging to uphold Swiftâs reputation as this generationâs greatest songwriter when confronted with such pedestrian writing.
Every great songwriter has a classic. Carole King has Tapestry, Joni Mitchell has Blue, and Patti Smith has Horses. Weâve been waiting for Swift to release hers, but with the release of TTPD, weâve never felt further away.
One common defense of Swift, often cited even for this album, revolves around her capacity to empower young women to express their full spectrum of emotions. However, this aspect has never truly felt distinctively hers. Alanis Morissette established this narrative with Jagged Little Pill back in 1995, while Swiftâs contemporaries like Olivia Rodrigo, Billie Eilish, Phoebe Bridgers, and Lana Del Rey arguably embody it with more authenticity. Notably, So Long, London seems to directly emulate Lana Del Reyâs signature style.
In terms of production, the album follows the familiar path of mid-tempo synthpop, crafted alongside her regular collaborator, producer Jack Antonoff. Unfortunately, Swiftâs weak lyrics find no refuge in the music, as the sound proves equally underwhelmingâââa double blow.
Antonoff heavily relies on shimmering synthesizers and sparse percussion, recycling the familiar soundscapes from Midnights, albeit with a less favorable outcome. The albumâs consistent sonic palette results in a monotonous listening experience where songs blend together, devoid of any distinguishing elements.
Having collaborated on seven albums, Swift and Antonoffâs creative partnership seems to have plateaued. The tracks theyâve produced together on this album donât reach the heights of their past collaborations, suggesting neither artist is currently pushing the other to new creative territory. In contrast, the tracks on the albumâs later half (âThe Anthologyâ), featuring Aaron Dessner of The National, showcase a partnership that still holds some promise.
Fortnight, the opening track of the album, is a blatant display of vapid pop. Crafted by Antonoff, the instrumental underscores the albumâs overall lack of substance. Even the presence of Post Malone fails to inject any semblance of flavor, as his contribution is criminally underutilized. Taylorâs lyrics also fall short againââââI took the miracle move-on drug, the effects were temporary.â Initially, it seemed odd that Swift would choose this as her lead single, but upon listening to the rest of the album, it became glaringly apparent that she didnât have many compelling options to choose from.
1. Taylor Swift, Post Malone, Fortnight (Synthpop) đ
2. Twenty One Pilots, Backslides (Pop Rap) đđ
3. PARTYNEXTDOOR, FOR CERTAIN (Alternative R&B) đ
4. Normani, Gunna, 1:59 (Contemporary R&B) đ
5. Kygo, Zak Abel, Nile Rodgers, For Life (Tropical House) đ
6. Nas, DJ Premier, Define My Name (Boom Bap) đđđ
7. Nicki Minaj, Travis Scott, Chris Brown, Sexyy Red, FTCU (Remix) (Trap)đïž
8. Laufey, Bored (Traditional Pop) đđ
9. Tems, Love Me JeJe (Afrobeats) đ
10. Justice, Tame Impala, Neverender (Electro House) đđ
BEST Songs of the Weekđ„
On January 17, 2022, we wrote, âOn their latest single, Dublin post-punkers Fontaines D.C. have done a complete about face. Jackie Down the Line, the first preview of the bandâs third album Skinty Fia, has a much poppier melody than anything off the groupâs previous two records.â
Fast forward over two years, and Fontaines D.C. have reappeared, fully embracing a fresh sonic landscape once more. The acclaimed five-member ensemble, with a Grammy nomination under their belt, has unveiled Starbuster as the lead offering from their forthcoming album, Romance, helmed by producer James Ford of Arctic Monkeys fame.
The songâs influences are unmistakable. The band has acknowledged DJs Shygirl, Sega Bodega, and The Prodigy as inspirations, alongside rappers Mos Def, A$AP Ferg, and OutKast.
Blending electronic and hip-hop elements, Starburster ventures into unexpected territoryâââthink trip-hop reminiscent of Portishead or Massive Attack. One could argue itâs a complete transformation, had the band not already explored this sonic territory on Skinty Fiaâs title track.
Diverging from their earlier guitar-driven anthems, Starburster pushes the guitar into the background in favor of decidedly hip-hop percussions. Frontman Grian Chatten unleashes a barrage of stream-of-consciousness lyrics, shifting seamlessly into a rap-like delivery. It evokes the early 2000s rap-rock eraâââthink Gorillaz.
This bold sonic shift marks Fontaines D.C.âs first new music since inking a deal with the avant-garde powerhouse XL Recordings, and it demonstrates exactly why they caught the eye of a label renowned for nurturing cutting-edge creativity with visionary acts like Radiohead, Burial, and M.I.A.
1. Fontaines D.C., Starbuster (Post-Punk) đđđđ
2. St. Vincent, Big Time Nothing (Funk Rock) đđđđ
3. Maruja, Resisting Resistance (Jazz Rock) đđđđ
4. Jamie xx, Honey Dijon, Baddy On The Floor (Funky House) đđđ
5. Knocked Loose, Poppy, Suffocate (Metalcore) đđđ
6. Backxwash, WAKE UP (Industrial Hip Hop) đđđ
7. Alcest, Flamme Jumelle (Shoegaze) đđđ
8. NilĂŒfer Yanya, Like I Say (I runaway) (Indie Rock) đđđ
9. Cassandra Jenkins, Only One (Sophisiti-Pop) đđđ
10. saulte, Rina Sawayama, saving flowers (Speed Garage) đđđ
Honorable Mention: Fat Dog, Running (Dance Punk) đđđ
Albums Spotlight đż
Annie Clark, widely known by her stage name St. Vincent, is a musical chameleon adept at embodying distinct personas for each of her albums. Her past three releases showcased her versatility: her 2014 self-titled album portrayed her as a digital-age cult leader, 2017âs Masseduction featured her as a latex-clad dominatrix, and 2021âs Daddyâs Home immersed her in the persona of Andy Warholâs muse, Candy Darling.
However, her latest record, All Born Screaming, marks a departure from these elaborate personas. For the first time in over a decade, Clark enters a phase of her career devoid of flashy new looks or character portrayals, telling NME earlier this year, âThereâs no characterâââitâs just me.â
This new album stands in stark contrast to its predecessor, Daddyâs Home. It abandons the â70s pastiche and psychedelic soul, eschewing the concept album format and Jack Antonoffâs production, thankfully. All Born Screaming marks Clarkâs debut as a self-producer. She took the reins of production due to her inability to articulate the sounds in her mind to someone else.
While the album is clearly rooted in Clarkâs early musical influences, including Nine Inch Nails, Tori Amos, Nirvana, and PJ Harvey, it stands as the first St. Vincent record without a singular aesthetic. It effortlessly weaves together soft rock, electro-funk, and industrial rhythms with bursts of art pop, folky whispers, and even hints of reggae.
The opening track, Hell Is Near, evokes a psychedelic twist on Portishead, while the gothic undertones of Reckless echo Chelsea Wolfe over a Trent Reznor beat. This homage to Nine Inch Nails persists in the lead single, Broken Man, a relentless industrial rock anthem featuring a trio of drummers, including Dave Grohl. Grohlâs prowess also shines in the shimmering prog-rock track Flea, reminiscent of Yes or early Genesis.
Big Time Nothing injects funky basslines with electronic dance elements akin to Peter Gabrielâs solo work. Violent Times bursts with brass accents straight out of a Bond film, while Sweetest Fruit tips its hat to the late electro-pop luminary SOPHIE with its offbeat pop flair. The Powerâs Out nods to David Bowieâs Five Years, while So Many Planets draws inspiration from Blondieâs reggae-infused hit The Tide Is High. The album culminates with the title track, starting with 80s-style jangly guitars before transitioning into a spacey synth reminiscent of Clarkâs own discography.
Despite these influences, All Born Screaming maintains a starkly modern sound, characterized by highly thoughtful production, impeccable sequencing, and a consistent mood throughout. It sounds like a compilation of some of her best work rather than a brand new album.
St. Vincent, All Born Screaming (Art Rock) đđđ
Favorite Tracks: Broken Man, Big Time Nothing, Flea, Violent Times
Maruja, Connlaâs Well [EP] (Post-Punk) đđđ
Favorite Tracks: The Invisible Man, Resisting Resistance, One Hand Behind The Devil, Zeitgeist
Bladee, Cold Visions (Rage) đđ
Favorite Tracks: KING NOTHINGG, OTHERSIDE, END OF THE ROAD BOYZ, LUCKY LUKE
Pearl Jam, Dark Matter (Alternative Rock) đ
Favorite Tracks: Scared Of Fear, Dark Matter, Wreckage, React Respond
Taylor Swift, THE TORTURED POETS DEPARTMENT: THE ANTHOLOGY (Pop) đ
Favorite Tracks: The Black Dog, The Albatross, How Did It End?
Taylor Swift, THE TORTURED POETS DEPARTMENT (Pop) đïž
Favorite Tracks: Florida!!!, Guilty as Sin?, So Long London
Other Notable Projects: claire rousay sentiment, Cloud Nothings Final Summer, High On Fire Cometh The Storm, Justice Hyperdrama, Lucy Rose This Ainât the Way You Go Out, Machine Girl Super FREQ [EP], PARTYNEXTDOOR PARTYNEXTDOOR 4 (P4), Pet Shop Boys Nonetheless, SeeYouSpaceCowboy Coup de GrĂące, Sega Bodega Dennis
B-Side Stories đ°
In our previous newsletter, we talked extensively about rapâs civil war. Following the release of his Kendrick Lamar diss track Push Ups, Drake has released another diss track, Taylor Made Freestyle, which features AI vocals from Tupac and Snoop Dogg. Kanye West also entered the fray, taking shots at Drake on his remix of Like That. Meanwhile, Gucci Mane dropped a Diddy diss track, TakeDat, poking fun at the mogulâs signature catchphrase. And, Chris Brown stoked the flames of his feud with Quavo on Weakest Link.
An upcoming posthumous album of unreleased material by Johnny Cash from 1993 is scheduled for release in June. The lead single, Well Alright, has been shared, and itâs about stumbling upon love in an unlikely place, the laundromat.
Earlier this year, Paramore covered Burning Down The House for the upcoming Talking Heads tribute compilation. In a reciprocal gesture, Talking Headsâ frontman David Byrne has covered Paramoreâs 2017 hit Hard Times.
Cult favorites Have A Nice Life unveiled a cover of Lowâs 2005 track When I Go Deaf as part of their labelâs homage to the slowcore pioneers.
Elton John unearthed rare footage from fifty years ago capturing his debut performance of The Bitch Is Back at the Watford FC Benefit Concert in 1974.
WORST Song of the Week đïž
HARDY, Gin and Juice (Country Rap)
Next issue: Dua Lipa releases her third studio album, Radical Optimism.
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