On his album surprise Folklore, Taylor Swift is being reinvented… for the better. By partnering for the first time with leaders of the indie music, the undisputed star of the most brilliant of the show-business the united states offers the best album of his career.
Taylor Swift has never really afraid to go elsewhere. After a successful debut in the country, had she not already moved to the pop commercial with the huge success we know ?
Nobody however, had thought that one who had been to dance the world with his irresistible Shake It Off dare a radical departure that this transition to an “indie folk/pop house/hello fans of Lana Del Rey’s” operated on Folklore, an album which has, moreover, been entirely composed and recorded during the confinement.
To get there, Tay Tay was not afraid to knock on new doors. It is as well as Aaron Dessner, multi-instrumentalist and producer from the indie group The National, came to bring the key orchestral refined, which is found behind eleven of the sixteen titles of the album.
Recognizable from the first notes of each song in which he participated, the sound signature distinctive of Dessner molds with astonishing ease to the world of Taylor Swift, whose song has never been so skin-deep. Together, they form a duo as unlikely as it is effective.
Just as much as Justin Vernon (Bon Iver), who comes to give the reply to the singer in the song, breaking the Exile, one of the many highlights of Folklore.
It resurfaced as part of a team on four titles with Jack Antonoff, his main accomplice of the previous Lover, with whom she keeps in life the pane pop of his artistic personality.
This eighth album from Taylor Swift, is dark, full of his usual stories of lost loves, but it reveals an artist in full mastery of his art and of his emotions.
Where she once would have settled accounts by ripping his shirt, Swift prefers to look serene and mature on its disappointments, sentimental and other, as it does on the poignant and impeccable Cardigan or the heartbreaking Hoax.
It escapes a little on the Mad Woman, where it serves as a warning unequivocally that his former record label, with which she is fighting to retrieve the rights to his old songs : “I will not release it any not the song “.
The favor is brief. As soon as the next song, the delicate Epiphany, she takes a tone more solemn. Of the rest, it should be noted that Swift does not draw much of his inspiration in his personal diary and that she did not hesitate to put themselves in the shoes of real characters (The Last Great American Dynasty) or fictitious (Betty).
Of course, at 16 pieces and over one hour of music, Folklore would have deserved one or two strokes of the scissors to avoid diluting the effect, but one thing is clear, however : the new clothes of music of the empress Swift suit her admirably.