Taylor Swift The 拷問d Poets Department review: The pop superstar pulls out all the stops on this mammoth 請け負うing, 令状s ADRIAN THRILLS
Taylor Swift: The 拷問d Poets Department (全世界の／万国共通の)
率ing:??????
判決: 夜明け of a new 時代
From 2012's brash Red through to 2022's more subtle Midnights,?Taylor Swift has a penchant for 選び出す／独身-word album 肩書を与えるs. Over those ten years, the American superstar has also given us 1989, 評判, Lover, Folklore and Evermore. The fact that her 最新の comes with a more 長引いた 扱う 示唆するs that something is 進行中で in the Swiftieverse.
There's certainly a sense that she's pulling out all the stops on The 拷問d Poets Department. Even for someone with a 跡をつける 記録，記録的な／記録する of 非常に長い, value-for-money albums, it's a mammoth 請け負うing. Its 16 songs stretch out across 66 tireless minutes, with 特別手当 跡をつけるs take the running time to over 74 minutes. It's essentially a 二塁打 album. It's also an immersive, cinematic 事件／事情／状勢 that often feels more like an old Hollywood film script than a straightforward pop 記録，記録的な／記録する.
The good news for Swifties is that the 34-year-old's astonishing work ethic hasn't led to a 下落する in songwriting 質. 含むing four re-recordings, this is her ninth LP in five years, and it's 井戸／弁護士席 up to the 基準 of the older albums she's 現在／一般に revisiting on The 時代s 小旅行する, a career-spanning show which 攻撃する，衝突するs UK stadiums this June.
The 拷問d Poets Department is?an immersive, cinematic 事件／事情／状勢 that often feels more like an old Hollywood film script than a straightforward pop 記録，記録的な／記録する
The LP is 井戸／弁護士席 up to the 基準 of the older albums she's 現在／一般に revisiting on The 時代s 小旅行する, a career-spanning show which 攻撃する，衝突する s UK stadiums this June
Written on the US 脚 of that 小旅行する, it isn't a major 出発 musically. Two of her 正規の／正選手 協力者s, Jack Antonoff and Aaron Dessner, are the main co-writers, and many of her lyrically-rich songs are built around shimmering electronics and inarguably 広大な／多数の／重要な tunes. There are two duets ? one with soft-発言する／表明するd US 星／主役にする 地位，任命する Malone, one with UK singer Florence Welch ? and passing hints of folk music.
Before we even get to the songs, the mood is 始める，決める by an LP sleeve that features a written introduction by Taylor, who 調印するs herself off as The Chairman Of The 拷問d Poets Department. There's also a poem, 'for T and me', by Fleetwood Mac's Stevie Nicks.
It's a far cry from Swift's 早期に days in Nashville: a flair for storytelling and the 半端物 位置／汚点／見つけ出す of 声の phrasing aside, there are few traces of her country roots here. While the 残り／休憩（する） of the pop world, from Beyonc? to Lana Del Rey, is hitching a ride on the country hay-wagon, Taylor is once again 長，率いるing in a different direction.
The lyrical mood is one of （名声などを）汚すd romance, with clever 内部の rhymes and skilfully-scripted melodrama by the bucketload. The album opens with Fortnight, an electronic ballad in which Taylor, …を伴ってd by 地位，任命する Malone, 示唆するs she's on the 瀬戸際 of a 決裂／故障. 'I was supposed to be sent away, but they forgot to come and get me,' she 警告するs. 'I was a 機能（する）／行事ing アル中患者 until nobody noticed my new aesthetic.'
Even as her 記録，記録的な／記録する-breaking 小旅行する rolls on に向かって its final show in December, a new 時代 is already under way
Fans who pore over her lyrics will have plenty to entertain them. This is her first new album since the end of her six-year 関係 with British actor Joe Alwyn and, while she doesn't について言及する Alwyn by 指名する, 憶測 will be rife that 跡をつけるs such as So Long, London ? which 含む／封じ込めるs a 言及／関連 to 'the house by The ヒース／荒れ地' ? are about him.
The 半端物 misstep is 必然的な. 負かす／撃墜する Bad feels like one sad, electronic ballad too many. But, just as you 恐れる the album might be losing 勢い, up pops another classic in the making such as Florida!!! ? sung with Welch ? or 有罪の As Sin?
'I'm so depressed, I 行為／法令／行動する as if it's my birthday every day,' she sings on I Can Do It With A Broken Heart.?
Whatever comes her way, the show must go on. So, even as her 記録，記録的な／記録する-breaking 小旅行する rolls on に向かって its final show in December, a new 時代 is already under way.
THE TORTURED POETS DEPARTMENT: TRACK-BY-TRACK?
Fortnight
A tuneful duet with 地位，任命する Malone and a song seemingly about a two-week fling. The slow, electronic rhythms 始める，決める the 早期に トン.
The 拷問d Poets Department
Another shimmering melody, and lyrics which 示唆する that Taylor, modestly, doesn’t see herself at the 最高の，を越す （米）棚上げする／（英）提議する of 拷問d poets: ‘You’re not Dylan Thomas, and I’m not Patti Smith.’
My Boy Only Breaks His Favorite Toys
Written 単独で by Swift, this song’s dense electronic hum 追加するs 強烈な 公式文書，認めるs. ‘Once I 直す／買収する，八百長をする me, he’s gonna 行方不明になる me,’ she 公約するs.
負かす／撃墜する Bad
‘Everything comes out teenage petulance,’ sings Taylor as she 激しく 調査するs the fallout from an old 関係.
So Long, London
The first 跡をつける to be written with The 国家の’s Aaron Dessner brings a change of pace, with a lovely, choral intro. ‘So long, London, you’ll find someone,’ sings Taylor.
This is her first new album since the end of her six-year 関係 with British actor Joe Alwyn and, while she doesn't について言及する Alwyn by 指名する, 憶測 will be rife that 跡をつけるs such as So Long, London are about him. Pictured together in 2019
But Daddy I Love Him
‘I know he’s crazy, but he’s the one I want,’ sings Swift, showing wry humour as she 収容する／認めるs to 落ちるing for the bad boys. Produced, with real brightness, by Dessner.
Fresh Out The Slammer
Finger-選ぶd acoustic guitar 追加するs folky 公式文書，認めるs reminiscent of lockdown albums Folklore and Evermore.
Florida!!!
An album 最高潮の場面, this theatrical duet with London singer Florence Welch is an uplifting song of escape ? from small-town life and a bad romance.
有罪の As Sin?
A tale of unrequited love, and a superb slice of 1980s-style soft 激しく揺する. It even について言及するs The Downtown Lights, a 1989 選び出す／独身 by Scottish 禁止（する）d The Blue Nile.
Who's Afraid Of Little Old Me?
Big 派手に宣伝するs, a 劇の 協定, and more 乾燥した，日照りの humour in another song penned 単独で by Swift. ‘You wouldn’t last an hour in the 亡命 where they raised me,’ she snarls.
I Can 直す／買収する，八百長をする Him (No Really I Can)
A moody, stripped-負かす／撃墜する number worthy of Lana Del Rey, who has also worked extensively with the song’s 生産者, Jack Antonoff
The Alchemy:?冒険的な metaphors aplenty 示唆する a 跡をつける 奮起させるd by the singer's 現在の boyfriend, American football 星／主役にする Travis Kelce. Pictured at Coachella this week
Loml
‘You said I’m the love of your life,’ sings Taylor on this warm, resonant piano ballad. In a smart 新たな展開, the ‘loml’ 最終的に becomes ‘the loss of my life’.
I Can Do It With A Broken Heart
More 1980s 影響（力）s on an electronic pop 跡をつける that sees Taylor 公約するing to remain a trouper, にもかかわらず any romantic 争い.
The Smallest Man Who Ever Lived
‘You didn’t 手段 up in any 手段 of a man,’ sings a disdainful Swift on a melodramatic ballad.
The Alchemy
冒険的な metaphors aplenty 示唆する a 跡をつける 奮起させるd by the singer’s 現在の boyfriend, American football 星／主役にする Travis Kelce. ‘When I touch 負かす／撃墜する, call the amateurs and 削減（する） them from the team,’ she sings.
Clara 屈服する
It’s tempting to think Taylor sees something of herself in 跡をつける 奮起させるd by an American actress of the 1920s who lived her life in the Hollywood goldfish bowl.
Two of her 正規の／正選手 協力者s, Jack Antonoff (権利) and Aaron Dessner (Left) are the main co-writers, and many of her lyrically-rich songs are built around shimmering electronics and inarguably 広大な／多数の／重要な tunes.
The 黒人／ボイコット Dog
The album’s second half opens with piano, acoustic guitar, and Taylor singing of an ex-lover who forgot to turn off the locator on his phone, The 黒人／ボイコット Dog 存在 the pub she traced him to.
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Lyrical zingers on an electronic ballad that 行為／法令／行動するs as a sonic 橋（渡しをする） to earlier songs. ‘Whether I’m gonna be your wife, or gonna 粉砕する up your bike, I 港／避難所’t decided yet,’ sings Taylor.
The Albatross
Acoustic guitar and the strings of the London 同時代の Orchestra illuminate a folky 跡をつける that would have fitted neatly on Taylor’s lockdown albums.
Chloe Or Sam Or Sophia Or Marcus
Aaron Dessner plays mandolin and guitar on a song that alludes to Hank Williams’ 冷淡な, 冷淡な Heart: ‘If you want to break my 冷淡な, 冷淡な heart, just say: I loved you the way you were before.’
In Clara 屈服する Taylor appears to sees something of herself in 跡をつける 奮起させるd by an American actress of the 1920s (pictured)? who lived her life in the Hollywood goldfish bowl
Florida!!! is an album 最高潮の場面, this theatrical duet with London singer Florence Welch (pictured) is an uplifting song of escape ? from small-town life and a bad romance
How Did It End?
American ピアニスト Thomas Bartlett plays lines 解任するing Beethoven’s Moonlight Sonata, as Taylor again skewers an ex-lover. ‘He was a hothouse flower to my outdoorsman,’ she sings.
So High School
Chiming electric guitars and 派手に宣伝するs on a rare excursion into rockier 地形. ‘Are you gonna marry, kiss, or kill me?,’ sings Taylor. ‘It’s just a game, but really I’m betting on all three.’
I Hate It Here
A lilting acoustic number on which Taylor ponders which １０年間 she’d most like to live in. ‘I’d say the 1830s, but without all the 人種差別主義者s and getting married off for the highest 企て，努力，提案,’ she 結論するs.
thanK you aIMee
An acoustic song about the cruel playground いじめ（る）ing that gave Swift the 動機づけ to become the superstar she is today: ‘There wouldn’t be this, if there hadn’t been you.’
I Look In People's Windows
One of the album’s shortest songs, this two-minute gem is illuminated by acoustic guitar and cello. ‘I look in people’s windows in 事例／患者 you’re at their （米）棚上げする／（英）提議する,’ she sings.
The Prophecy
Taylor bemoans the (n)艦隊／(a)素早いing nature of love on a piano ballad featuring Thomas Bartlett: ‘Thought I caught 雷 in a 瓶／封じ込める, but it’s gone again.’
Cassandra
Piano and strings again to the fore as a melodramatic Swift plays the 役割 of the Trojan priestess whose prophecies of doom went unheeded.
The 半端物 misstep is 必然的な. 負かす／撃墜する Bad feels like one sad, electronic ballad too many
Peter
A rolling piano ballad with choral 支援 that looks 支援する on adolescent infatuation.
The Bolter
Taylor 始める，決めるs her sights on a woman who won’t settle 負かす／撃墜する as she’s always ‘off to the races’. Or is she singing about herself in the third person?
コマドリ
‘You have no room in your dreams for 悔いるs,’ she sings on a wistful piano ballad featuring Thomas Bartlett.
Th e Manuscript
Written 単独で by Taylor, produced by Dessner, and a brilliant finale: ‘Now and then I re-read the manuscript, but the story isn’t 地雷 anymore.’
