To say that it was expected is euphemism. Even before its launch, The life of a showgirl12th Taylor Swift Broke Records album. And finally, the pop star is such a social phenomenon, doubled by a marketing machine, that the intrinsic quality of the album is very important.
A few hours after its launch, the first criticisms in this very short album, 12 songs, 41 minutes and 45 seconds, are already arising. And they are not so elegant that we could have expected.
Some are ruthless, such as Guardian’s journalist who sees him as an album “without the interest of a star that seems exhausted”, regretting the lack of “pop tubes expected by fans” despite the presence of producer Max Martin, artisan of his great hits of the 2010. A “soft rock with domestic happiness”, without relief and full of “resentment.”
This “enters one ear and comes out of the other,” adds the critic. “It is not unpleasant, but one might expect reasonably more given the power of accumulated composition and swift statements according to which I wanted to keep the ‘very high’.”
Some tubes
Because Marx Martin and Shellback meeting around the pop queen had aroused a strong expectation in terms of tubes. A wait that seems a bit disappointed, on the side of fans.
“Since production does not touch me immediately as I expected, Taylor’s writing really highlights,” he eupheated a podcaster on Tiktok.
“I was waiting for catchy and shocking songs,” offers a Tiktok fan, translating a feeling that seems general. The album is “painfully bored and boring”, for this other amateur critic.
And if this album is not as rhythmic as one could wait, it reserves, according to The Times, some tubes, such as Ophelia destination“Who surfs an irresistible rate of New Wave that evokes the teachers of Eurythmics’s chorus.” But also Opalite“Magnificent Soft-Rock Song”, or the duo with Sabrina Carpenter, The life of a showgirl.
Medium tone criticism also for the country. The Spanish daily newspaper title in its “disappointment” on an album described as “transition” and “hurried while it was more concentrated in the search for the exhausting tour.”
For Rolling Stone, Taylor Swift conquers with this album “The biggest scene of his career”. For the musical magazine, this twelfth album “achieved all its goals, whether new exciting sound changes or an incisive narrative.”
“Communicative joy”
Variety, a magazine specialized in cinema, also seems to be won by this album “with such a communicative joy that even their deviations to solve their accounts seem brilliant.”
The songs of albums attract attention. Because all swifies will tell you, Taylor Swift is a virtuoso of words, and his life welcomes his songs. After having sung his annoying and established loves on his albums, what could we expect from an album bathed in his new happiness with his fiance Travis Kelce?
“There is the world ready for Taylor Swift, a poet totally devoid of torments,” Variety wonders.
As happy and calm as it is, the pop icon does not stop solving its accounts in this album.
As in Romantic newsWhat seems, points out the times “to be an answer to Sympathy is a knife By Charli XCX “.” Swift releases some funny replicas in Chihuahuas and Cocaine, but completely renounces the feeling of empathy that made it such an icon. “
Source: BFM TV
