{"id":634,"date":"2022-10-26T04:13:35","date_gmt":"2022-10-26T04:13:35","guid":{"rendered":"https:\/\/wers.org\/wecb\/milkcrate\/2022-10-25-heres-what-milk-crate-swifties-thought-about-every-track-on-taylor-swifts-midnights\/"},"modified":"2022-10-26T04:13:35","modified_gmt":"2022-10-26T04:13:35","slug":"2022-10-25-heres-what-milk-crate-swifties-thought-about-every-track-on-taylor-swifts-midnights","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/2022-10-25-heres-what-milk-crate-swifties-thought-about-every-track-on-taylor-swifts-midnights\/","title":{"rendered":"Here’s What Milk Crate ‘Swifties’ Thought About Every Track on Taylor Swift’s Midnights"},"content":{"rendered":"
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Graphic by Isa Luzarraga <\/p>\n<\/div>\n<\/figcaption><\/figure>\n<\/p><\/div>\n

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Dear Reader, On October 20th at exactly Midnight, Taylor Swift released her long awaited tenth studio album, Midnights<\/em>. The Swifties of Milk Crate banded together to pay homage to our Mastermind, Taylor. Below are our thoughts and Questions\u2026? about the Labyrinth of album that has left us Bejeweled all week. <\/p>\n

Midnights<\/h1>\n

Lavender Haze <\/h3>\n

Julia Norkus<\/strong><\/h2>\n

As the opener to this long-awaited concept album, \u201cLavender Haze\u201d announces itself with a delicious beat loop that makes me feel like I\u2019m in a smoky night club in New York City with cheap eyeliner sweating off of my face. The song itself stirred up quite the controversy prior to release, with audiences referencing the importance of lavender to the LGBTQ+ community<\/span><\/a> and its history, feeding into the theories of the \u201cGaylor\u201d fandom. Lavender was seen as a color of empowerment, but also the \u201cLavender Scare,\u201d<\/span><\/a> the period where former President Dwight D. Eisenhower in 1953 declared, \u201c…gay men and lesbians to be a threat\u2026and therefore unfit for government service.\u201d Despite the speculation, the song itself refers to the \u201850s term lavender haze, being another way of saying someone is in the early stages of love, which Swift references directly in the line, \u201cThe 1950s shit they want from me \/ I just wanna stay in that lavender haze.\u201d The song overall references meeting someone new while being constantly reminded of tumultuous relationships of the past. But this someone new only sees Swift for who she is\/was at that moment and not for her past, creating a new layer of intrigue for Swift. A drum pattern that sounds like the drums in Phil Collins\u2019 \u201cIn the Air Tonight\u201d also makes an appearance which feels like a subtle reference to the hazy and smoky energy of the song\u2014mirrored in \u201cLavender Haze.\u201d This sultry opener sets the tone for the rest of the album, immediately putting the listener into the story of Taylor\u2019s sleepless nights.<\/p>\n

Maroon <\/strong><\/h3>\n

Karenna Umscheid<\/h2>\n

I simply cannot get enough of \u201cMaroon,\u201d the color a recurring motif tracing a New York City love story, a whirlwind romance with love that prolongs past the relationship. It reminds me so much of \u201cOut of the Woods,\u201d a favorite track of mine from 1989<\/em>, in scenes of a couple lying on a couch, of flashes of infatuation marked with clashes and heartbreak. But the love detailed in \u201cMaroon\u201d is not destined to crash so horrifically, nor is it over so quickly. It is a sleepless night fluctuating between a lovesick and untiring daze, and sobs of passion. Swift\u2019s signature red has aged like a fine wine and cascaded into a rich, beautiful maroon. <\/p>\n

Anti-hero <\/strong><\/h3>\n

Sarah Fournell<\/h2>\n

After years of the media telling Swift she should stop writing about her exes and admit that she\u2019s a problem, she did exactly that! Crowning herself the \u201cAnti-Hero,\u201d and \u201cthe problem\u201d Swift dissects her insecurities with brutally relatable lyrics. She delves deep into her perceived narcissism, scheming, and nightmares about her future daughter in law murdering her in between a catchy back in forth between her and the worst parts of herself. The line \u201cSometimes I feel like everybody is a sexy baby\/And I\u2019m a monster on the hill\u201d contains arguably the most controversial lyrics on the album, and understandably so. The 30 Rock<\/em> reference doesn\u2019t resonate with everyone because, well, \u201csexy baby.\u201d The beat is strikingly similar to her song from Miss Americana<\/em> \u201cOnly the Young,\u201d with its mellow pop intro and 1989<\/em> undertones. Swift has once again created the perfect punchy sound byte with \u201cIt\u2019s me, Hi, I\u2019m the problem, it\u2019s me!\u201d<\/p>\n

Snow on the Beach <\/strong><\/h3>\n

Karenna Umscheid<\/h2>\n

Finally, the highly anticipated collaboration between the two loves of my life, Taylor Swift and Lana Del Rey, has arrived. And it seems Lana must have gotten lost on the way to the studio! Not to fret, her sad girl essence and background vocals still compliment the song nicely, though it is a bit of a letdown. The beginnings sound like a holiday melody, soft string instrumentals that accompany a sweet and unexpected love story. Del Rey\u2019s incredible soprano traces the chorus in the background, a smaller role than I had hoped but still a gorgeous haunting. And though the lyricism of the chorus is remarkably Swift\u2019s, there are moments so special  that I feel Del Rey\u2019s presence so strongly. When Swift sings \u201cBut your eyes are flying saucers\/From another planet\/Now I\u2019m all for you like Janet\/Can this be a real thing, can it?\u201d I know that Del Rey was behind such fun, strange, and romantic music.<\/p>\n

You\u2019re on your own kid<\/h3>\n

Isa Luzarraga<\/h2>\n

An upbeat piano melody paired with a lively beat sharply contrasts the woeful lyrics in \u201cYou\u2019re On Your Own, Kid.\u201d This juxtaposition hits hard, urging the listener to reflect on their childhood, feelings of melancholy slowly blurring the edges of our most painful memories. As Swift alludes to her combatting of anxiety and depression, she comes to terms with her past and current isolation, \u201cFrom sprinkler ashes to fireplace ashes\/I waited ages to see you there\/I search the party of better bodies\/Just to learn that you never cared\/You\u2019re on your own, kid, You always have been.\u201d The track evokes moments when we are suddenly thrust back into the awkwardness of our adolescence, and sometimes this involves realizing that not much has changed. \u201cYou\u2019re On Your Own, Kid\u201d is heartbreakingly relatable, embodying the fragility of first loves and childhood dreams.<\/p>\n

Midnight Rain <\/strong><\/h3>\n

Farah Rincon<\/h2>\n

The very first seconds of \u201cMidnight Rain\u201d truly surprised me with the unfamiliar, modified version of Taylor\u2019s vocals. Having the song open with catchy, rhythmic lyrics, Taylor adjusts from the nostalgic and coming-of-age vibes of the previous track, \u201cYou\u2019re On Your Own, Kid\u201d to an upbeat and easygoing tone through the laid back beats and quiet, sporadic synths. As seen in songs such as \u201cVigilante Shit\u201d and \u201cKarma\u201d, Taylor creates a repeating theme of  her \u201cbad girl\u201d image through her lyrics in this song, and is seen through her lyricism when singing \u201cI broke his heart \u2018cause he was nice\u201d and \u201cHe wanted it comfortable, I wanted that pain\u201d. Regardless, Taylor always gives us a snippet of vulnerability and truth within her story telling, and we see that when she finally confesses she sometimes misses the man she left, even though he didn\u2019t necessarily had the best intentions: \u201cAnd I never think of him\/Except on midnights like this.\u201d Taylor compares herself to midnight rain, implying she\u2019s somewhat darker, more emotional, and chaotic than the man she speaks of in this song. I found this comparison interesting, since midnight rain is often associated with a more romanticized calmness in the quiet night, not a raging storm that prevents you from sleeping. Nevertheless, Taylor always aims for specific metaphors in her songs that will challenge her fans, which is why her fanbase (including myself) is often looked at as hyper-analytical detectives when it comes to her songwriting. \u201cMidnight Rain\u201d blends really well with the accompanying songs of the album, and makes sure to reference the main idea of midnight through its title and lyrics. <\/p>\n

Question\u2026? <\/strong><\/h3>\n

Adri Pray<\/h2>\n

As a journalist, I was immediately hooked by the song title\u2014\u201ccan I ask you a question?\u201d is my number one phrase. I had fallen off the Taylor Swift train before coming to Emerson, but was familiar, and obsessed with, her older work (Taylor Swift<\/em>, Fearless<\/em>, Red<\/em>, the like). I returned to the fanbase in anticipation of Midnights<\/em>, and the album as a whole I was pleasantly surprised with the techno sound, though \u201cQuestion\u2026?\u201d elicits a different feeling. As opposed to much of her work on the album, \u201cQuestion\u2026?\u201d is entirely set in the third-person, a stylistic choice that can\u2019t go overlooked. Within this move, Swift forces the listener to reflect on the naive love everyone has, a love that, eventually, turns sour. While the first verse paints a beautiful scene of what one hopes for when they commit to another, the chorus challenges the picturesque relationship, and the second half of the song begs the question: \u2018why did you leave her?\u2019<\/p>\n

Vigilante Shit <\/h3>\n

Izzy Desmarais<\/h2>\n

I pride myself on being an honest reviewer. To be completely candid, this album did not hit as hard as I was expecting it to. Based on the promotional photos \u2014 set in a wood paneled living room accented with jewel tones \u2014 I was expecting a 70s rock influenced record. To my core, I am a Speak Now<\/em>\/Red<\/em>\/Folklore<\/em> girlie. Pop Taylor has never been my absolute favorite \u2014 I fell off the Swiftie train for a few years following 1989<\/em>. So, forgive me, but Midnights<\/em> definitely missed the mark for me. \u201cVigilante Shit\u201d is an excellent example of what this album really is \u2014 an electro pop record that feels like 1989<\/em> and reputation<\/em>\u2019s love child. Paired with a simple yet dark trap-esque beat, the lyrics tell the story of a woman seeking revenge on her ex-lover. This isn\u2019t the first time Swift has played with this narrative \u2014 most recently, evermore<\/em>\u2019s \u201cno body, no crime\u201d follows a woman avenging her friend\u2019s death by killing her ex-lover turned murder. Instead of a small country town setting, \u201cVigilante Shit\u201d depicts crimes committed by the elite. Many fans have speculated that this song is about Scooter Braun, the man behind the acquisition of the masters to Swift’s first six studio albums and subsequent refusal to sell them back to her. Lyrics suggest that Swift may have told Braun’s now ex-wife about his infidelity \u2014 \u201cShe needed cold, hard proof, so I gave her some \/ She had the envelope, where you think she got it from?\u201d My favorite line, however, has to be from the third verse \u2014 \u201cWhile he was doin\u2019 lines and crossin\u2019 all of mine \/ Someone told his white-collar crimes to the FBI.\u201d It’s clear that Swift still knows how to write a song with clever word play and unapologetic honesty, but sonically this track definitely fell flat for me. Just imagine these lyrics with a loud, swell of guitars reminiscent of Fleetwood Mac to accompany them! Ugh, what could have been. <\/p>\n

Bejeweled <\/h3>\n

<\/strong>Sarah Fournell<\/h2>\n

\u201cBejeweled\u201d is Swift\u2019s least tragic unrequited love anthem. Unlike the one-sided romance bops from the past, \u201cBejeweled\u201d is a gleaming ode to moving on phase of a relationship that hasn\u2019t even ended yet. Bouncing far from the self-deprecating themes that have run rampant throughout the album thus far, \u201cBejeweled\u201d is a shimmering celebration of the self. Rather than let herself suffer from an attention deficit from the one she loves, Swift puts herself first, and is hellbent on having a good time, whether or not her lover is happy about it! \u201cBejeweled\u201d is shining with references to her own discography, with nods to \u201cThis is Me Trying,\u201d \u201cMirrorball,\u201d and \u201cAll Too Well (10 Minute Version)(Taylor\u2019s Version).\u201d The song itself sounds glittery, with the tech-pop beat that screams \u201cJack Antonoff produced this.\u201d It opens with a regal, cinematic score resemblant of a video game soundtrack and evolves into a bouncy pop track. It\u2019s the perfect anthem for dancing around your bedroom \u201cYou Belong With Me\u201d style, or for stepping out to show the world that you\u2019re unapologetically you, a diamond who has no choice but to shine. The star studded music video only adds to the appeal <\/p>\n

Labyrinth <\/h3>\n

Everly Orfanedes<\/h2>\n

\u201cLabyrinth\u201d absolutely fed the folklore<\/em> and evermore <\/em>stans. Once again, Swift unveils her insecurities and fears through delicate word play and soft synth. Swift\u2019s raw lyrics and soft vocals bring listeners back to the familiar, relatable comfort that we met in 2020 with the release of the sister albums. As she repeats \u201cOh no, I\u2019m falling in love\u201d again and again as the song fades away, it feels as though a physical whirlpool of worry and excitement drowns our ears as the track drifts away and into the next. The song expresses the relatable worry we know all too well; a fear that we will get hurt again, and face heartbreak. Swift says love is a risk, but always a risk worth taking.<\/p>\n

Karma <\/h3>\n

Maura Cowan<\/h2>\n

I\u2019m going to be transparent: Me and Midnights<\/em>, so far, do not particularly vibe like that. I swear, Your Honor, this is not blind haterism\u2013 I am not above allowing my opinion to evolve, or acknowledging my own shortcomings as someone who struggles to connect to the kind of mid-tempo synthy pop that drives the album. However, the sonic same-ness and lyrical shortcomings of Midnights<\/em> have made the album difficult for me to fully sink into. All that being said, her eleventh track, \u201cKarma,\u201d is generally a positive standout on the album for me. In all honesty, I was particularly interested in inspecting this one because of Taylor\u2019s ongoing fixation on the titular concept throughout her career, especially since her reputation<\/em> era. Those who have wronged her (namely Kanye West and former manager Scooter Braun) have been frequent recipients of one particular sentiment from Taylor in the last few years: \u201cI\u2019m patient, I\u2019m chill, because I know you\u2019ll get what\u2019s coming to you.\u201d  \u201cKarma\u201d the track is, perhaps, the most direct execution of this idea in recent memory, but that bluntness works well for me here. I appreciate the floating background synth, spare drum line, and buoyant, anaphoric chorus. Though it suffers in some lines from the same issue of lyrical deficiency (Taylor, I know you can do better than \u201cme and karma vibe like that\u201d), I find it to be a lighthearted and evolved take on this ground that she has trodden before. She frames karma more as the positive things in her life than the misfortune that has befallen her enemies, a sentiment that I appreciate from her after years of Bitter Betty anthems. Sorry Swifties, there may be no secret album<\/span><\/a> by the same name, but I personally am satisfied with the \u201cKarma\u201d that came to us.<\/p>\n

Sweet Nothing <\/h3>\n

Isa Luzarraga<\/h2>\n

The 12th track of Midnights <\/em>is unique in its portrayal of domesticity. Swift co-wrote the song with collaborator William Bowery aka her boyfriend of more than five years, actor Joe Alwyn. Having previously collaborated on folklore <\/em>tracks like \u201cbetty\u201d and \u201cexile,\u201d Bowery\/Alwyn was predicted to be credited on Midnights. <\/em>\u201cSweet Nothings\u201d is a soft ballad, detailing the simple things in Swift and Alwyn\u2019s life together, uncomplicated as the love described in the chorus, \u201cThey said the end is coming\/Everyone’s up to something\/I found myself a-running home to your sweet nothings\/Outside they\u2019re push and shoving\/You’re in the kitchen hummin’\/All that you ever wanted from me was sweet nothing.\u201d \u201cSweet Nothings\u201d provides an ordinary yet intimate gaze into their relationship, routine yet remarkable in its ease.<\/p>\n

Mastermind <\/h3>\n

Karenna Umscheid<\/h2>\n

With \u201cMastermind,\u201d Swift gives her invisible string a tug and illustrates her master plan to fall in love. She captures the pop magic of 1989<\/em> with the deep infatuation of reputation <\/em>and endless romance of Lover <\/em>with this track 13, a perfect and lovely encapsulation of the relationship that has guided her hopelessly romantic songwriting since 2017. She infuses her love so deeply and personally when she sings \u201cNo one wanted to play with me as a little kid\/So I’ve been scheming like a criminal ever since\/To make them love me and make it seem effortless\/This is the first time I’ve felt the need to confess\/And I swear\/I’m only cryptic and Machiavellian ’cause I care.\u201d Her chorus shimmers with deep love, which Swift ensured was meant to be. It\u2019s an absolutely magical closing track to the album. <\/p>\n

3am edition<\/h1>\n

The Great War <\/strong><\/h3>\n

Stephanie Weber<\/h1>\n

Sitting as the first song on the Midnights (3am Edition) <\/em>(2022), \u201cThe Great War\u201d is a heartbreaking introduction to the extended album. Midnights<\/em> is moody and heartfelt \u2014 the extended version is no different. \u201cThe Great War\u201d is drawn out, with strong drum beats and breathy vocals, a perfect battle cry for the poignant title name. Like any good writer about bloodshed and difficulty, Swift reflects on one particular relationship through a war metaphor, looking back on this life experience with a new lens. She details the highs and lows, desperately trying to garner a new perspective and find the spots where things went awry. Swift draws upon her Americana roots to sing about perseverance and prioritizing love above hate when tragedy strikes. With lyrics like \u201cMy hand was the one you reached for \/ All throughout the Great War\u201d and \u201cI vowed not to cry anymore \/ If we survived the Great War\u201d display the love that this relationship continues to have, despite the lovers clashing. During tragedy, relationships either break or come together, and Swift strives for the latter. Falling back on her Folklore <\/em>(2020) and Evermore <\/em>(2020) days, \u201cThe Great War\u201d stands out among the rest of the album due to its detailed descriptions and imagery. Swift sings lyrics like \u201cSoldier down on that icy ground \/ Looked up at me with honor and truth \/ Broken and blue, so I called off the troops,\u201d painting a heartbreaking picture of domestic sorrow and bloodshed. Like \u201cLove Story,\u201d off of Swift\u2019s second album Fearless <\/em>(2008), and \u201cLong Live,\u201d off of Swift\u2019s third album Speak Now<\/em> (2010), Swift uses her legacy of writing battle cries of maintaining love during a life of destitute in \u201cThe Great War.\u201d<\/p>\n

Bigger Than The Whole Sky <\/strong><\/h3>\n

Izzy Desmarais<\/h2>\n

I was fast asleep when Midnights (3am Edition) <\/em>dropped. Having stayed awake for the initial release at midnight, I went to bed roughly an hour later feeling tired and disappointed. My friend told me that these extra seven tracks are \u2014 in her opinion \u2014 better than the initial thirteen. Again, to be completely honest here, I have not listened to Midnights (3am Edition) <\/em>in its entirety. I\u2019m a little scared to press play. I mean, what if I\u2019m still<\/em> disappointed afterwards? I had heard nothing but good things about \u201cBigger Than the Whole Sky,\u201d so I figured this was a safe choice for my second song to review. A more subdued track that gradually builds over the course of three and a half minutes, its light synthesizer paired with heavy bass perfectly reflects the lyrics. While Swift leaves the true meaning up for interpretation, the song undoubtedly details the loss of a loved one. Fans wonder if it is about a miscarriage, suggested by the lines \u201cYou were more than just a short time\u201d and \u201cI\u2019m never gonna meet \/ What could\u2019ve been, would\u2019ve been \/ What should\u2019ve been you.\u201d A truly heartbreaking ballad that grapples with themes of guilt and losing faith \u2014 \u201cDid some force take you because I didn\u2019t pray?\u201d is, in my opinion, the most gut wrenching lyric \u2014 Swift demonstrates a range of emotions on this album while still creating a cohesive electronic sound. <\/p>\n

Paris <\/h3>\n

Stephanie Weber<\/strong><\/h2>\n

\u201cParis\u201d is exactly what it sounds like; a love song about falling in love like you\u2019re in the most romantic city in the world, Paris. It\u2019s upbeat, catchy, and  yearning at its core. It could serve as the soundtrack for a movie scene where the protagonists who are meant to be together finally kiss in the rain. It opens with vague vocals and synths but leads into the first verse about being in love with an ex-lover. The pre-chorus is what brings the song together, with lyrics \u201cI’m so in love that I might stop breathing\u201d and \u201cI was taken by the view \/ Like we were in Paris.\u201d Like the rest of Midnights, \u201cParis\u201d is about a relationship all consumed with being in the honeymoon phase, dramatically in love it makes your friends sick with jealousy. Similarly, to \u201cLavender Haze\u201d and \u201cAnti-Hero,\u201d the song is self-referential to the album, with the use of the word \u201cmidnights\u201d within the song. Although the line \u201cLet the only flashing lights be the tower at midnight\u201d is flawlessly written, my favorite lyrics of this song are \u201cRomance is not dead if you keep it just yours\/Levitate above all the messes made,\u201d because, in true Swift fashion, I continue to root for a flawed relationship wherein the lovers are truly compatible with each other but don\u2019t know how to overcome their differences. Swift really shows us that \u201cRomance is not dead,\u201d detailing this relationship she wants to hold forever. Of course, Swift has been to the city of light and love, with her release of a handful of songs performed in Paris, and draws on her cultured experience with the city that never ceases to bring lovers together.<\/p>\n

High Infidelity <\/h3>\n

Sarah Fournell<\/h2>\n

\u201cHigh Infidelity\u201d is an instantly recognizable Aaron Dessner produced track, with a more subdued, folky beat reminiscent of the pair\u2019s work on Evermore. <\/em>Swift gets wildly detailed in this track, posing the question \u201cDo you really want to know where I was on April 29?,\u201d leading fans to believe the track is about her relationship with Calvin Harris. (Harris\u2019 song \u201cThis is What You Came For,\u201d which was written by Swift was released on April 29, 2016). The track is deeply melodramatic and poetic, with lines like \u201cYou know there\u2019s many different ways that you can kill the one you love\/The slowest way is never loving them enough.\u201d<\/p>\n

Glitch <\/strong><\/h3>\n

Everly Orfanedes<\/h2>\n

During my first listen of the \u201cchaotic 3am surprise,\u201d \u201cGlitch\u201d was my immediate favorite of the seven extra songs for Midnights (3am edition).<\/em> The song is sexy but innocent in nature, and it sweetly breaks up the heavy hearted songs that sit on either side of this track. The flirtatious vibe reminds me of songs like \u201cStay Stay Stay,\u201d but with a much more mature tone. Swift demonstrates her self awareness in regards to how she loves, and who she loves, and we can hear the immense growth she has gone through in this electronic, beautiful, dancing in a dark room track. <\/p>\n

Would\u2019ve, Could\u2019ve, Should\u2019ve <\/h3>\n

Karenna Umscheid<\/h2>\n

Swift\u2019s realest, most gut-wrenching and gorgeously honest track (in my opinion!) on Midnights <\/em>released by surprise at 3am, and now I almost can\u2019t imagine her discography without it. The emotion and pain of tracks like \u201cDear John\u201d and \u201cAll Too Well\u201d ring through this song, with the added wisdom, and anger, of age. The lyric \u201cLiving for the thrill of hitting you where it hurts\/Give me back my girlhood\/It was mine first\u201d is enough for me to want to drive my car off of a cliff. Swift\u2019s intense, longing regret is heartbreaking to hear; though she grows older and her life moves on, her demons and regrets keep their grasp on her. She never holds back, especially when the chorus reads \u201cI can\u2019t let this go\/I fight with you in my sleep\/The wound won\u2019t close\/I keep on waiting for a sign\/I regret you all the time.\u201d Swift unexpectedly unleashed absolute hell in the penultimate track to Midnights (3am edition). <\/em><\/p>\n

Dear Reader <\/h3>\n

Sarah Fournell<\/h2>\n

\u201cDear Reader\u201d is a perfect culmination to the key themes of the album, with self-doubt, regret, and pain at the forefront of the lyrics. It reads as a direct letter of advice to her fans, urging them to \u201cNever take advice from someone who\u2019s falling apart.\u201d A muted hip-hop beat guides the verses, and gives way to a tranquil piano melody that backs the chorus.  It\u2019s a deeply vulnerable track, wherein Swift admits her insecurities surrounding being a role model. She also advises \u201cthe reader\u201d to have the courage to reinvent themselves, to bend but not break, and to have fortitude. The sonically Weeknd-esque outro is a plea for her fanbase to \u201cFind another guiding light.\u201d Throughout the entire song, she practically begs the listener to recognize that she\u2019s a flawed human being, who feels unworthy of idol worship, which is a sentiment her fanbase desperately needs to hear.<\/p>\n

Lavender Edition<\/h1>\n

Hits Different <\/h3>\n

Sarah Fournell<\/h2>\n

I\u2019m genuinely upset that \u201cHits Different\u201d is only on the Target exclusive \u201cLavender Edition\u201d of Midnights<\/em>. It is flourishing with aspects of nearly every sonic era she\u2019s ever had, with an acoustic throughline and hard hitting pop choruses. Lyrically, it\u2019s like if the overzealous pining of \u201cAugust\u201d met the bittersweet naivety of the entire Fearless<\/em> album. It feels free from the constraint of the pressure to constantly evolve as a musician, as if it\u2019s purely rooted in the fun of the past. The screamable nature of the lyrics like \u201cI never don\u2019t cry at the bar\u201d and \u201cBet I could still melt your world\/Argumentative, antithetical dream girl\u201d make me want to have a TALK with Swift and her team. It\u2019s another Antonoff\/Dessner masterpiece that I wish would have been given the same platform of the rest of the album.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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