By Megan LaCreta, Arts and Entertainment Editor
Taylor Swift released her highly anticipated album “Midnights” on Friday, Oct. 21. As a near life-long Swiftie and The Quadrangle’s Arts and Entertainment Editor, I felt that it was my civic duty to let you all know my every thought on this album. Well, the results are in, and I’m happy to report that “Midnights” is a Quadrangle-certified pop hit.
Taylor Swift has returned to pop music, and all the other pop girls should be afraid! Not entirely a return to her “1989” era, hints of 70s and funk influence throughout add a layer to this track never-before-heard from Swift. A perfect introduction to an album full of twists.
“Maroon” feels like a mature continuation of Swift’s 2012 track, “Red.” Swift first really explored her lower register in her more recent folk albums “Folklore” and “Evermore,” and it’s really refreshing to hear her utilize it in a pop context.
“It’s me, hi, I’m the problem, it’s me.” My problem? Making this song my whole personality. This song has some of the weirdest lyrics, but also the most complex and beautiful lyrics in the album, in a true tribute to Swift’s quirky personality. A contagious beat and relatable message makes this a surefire hit.
Snow On The Beach (feat. Lana Del Rey)
Okay, I’ll be honest, I was disappointed that Lana Del Rey was relegated to backing vocals. However, this is still easily one of my top songs on the album. I tend to classify songs by the seasons they feel like, and this is a definitive winter song, with echoey vibes reminiscent of the very winter album “Evermore.”
You’re On Your Own, Kid
Swift’s track fives are notorious tear jerkers, and this is no exception. If Swift knows one thing, it’s how to write lyrics that will rip you into shreds. The innocent, longing tone in her voice is beautiful. Assisting in the cause of melting me into a puddle of tears, the production reminds me of Lorde’s “Hard Feelings/Loveless,” likely thanks to shared producer Jack Antanoff.
This one is for everyone who knows that they are objectively better than their ex (but thinks of them just sometimes, “on midnights like this”). The sound of this track is definitely different for Swift, but I’m personally a fan. Let Taylor use synth!
I may be biased because I saw a tweet that said this track was a Cancer, and I’m an easily impressionable Cancer. But, the clear “1989” influences would’ve made this one of my favorites anyways.
“Vigilante Sh*t” is most definitely in it’s “Reputation” era. It’s fun, it’s dark. It’s a revenge anthem.
Sometimes you hear a song, and it makes you want to get ready for a night out. This is the kind of song you play in your bedroom while dancing and doing your makeup with your friends. The sparkly sounds in the background bring the whole song together. “Bejeweled” is pure pop fun.
Would you look at that, another song that made me cry! The echoey production, synth, and longing lyrics are all reminiscent of the best of 2010’s electropop love songs (my guilty pleasure song is “Anything Could Happen” by Ellie Goulding). “Oh no, I’m falling in love again” with this track.
The song Swifties have been waiting for for years! Introducing “Karma.” Swift has pointed to the possibility of “Karma” since her 2020 music video for “The Man.” The reveal was worth the wait. Listen to celebrate and/or manifest karma working in your favor.
The lullaby-like cadence of the intro immediately sets the tone for this song. Reminiscent of the criminally underrated “Folklore” bonus track “The Lakes,” this song seems to refer to Swift’s relationship with boyfriend Joe Alwyn. It’s a beautiful message of finding a love that asks nothing from you.
The title “Mastermind” plays on Swift’s reputation of being a calculated player, both when it comes to the men in her life and her Easter egg-filled marketing. The lyrics are heart-wrenching, and the bridge is built with the precision of a civil engineer. With the final reveal, that Swift’s love knew her plan all along, all these elements come together to produce the perfect finale to a sensational album.