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ATRL Reviews: The Weeknd - "Dawn FM"


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Overall I liked the album, but man the huge downgrade for WANEGBT is just :doc:

 

I will forever be pressed that this wasn't the version we got:

 

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5.5/10 for Red TV.

 

The questionable production choices, unnecessary 10 minute version of ATW that didn’t add anything to the immaculate original version and the new collabs that did nothing for the songs bogged down the original album which is otherwise an 8.5/10.


IKYWT, WANEGBT and 22 aged horribly in my opinion. 

That being said, State of Grace, Red and Treacherous is still one of the best opening of any albums ever.

Edited by ScarletWitch
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1 hour ago, Bloo said:

every time I double-cross your mind

What does this even mean

 

taylor splices together a few disparate idioms that don’t actually make any sense together and you all wet yourselves

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1 hour ago, Eternium said:

It’s a bastardization of one of the best songs of all-time and a perfect example of why “less is more.” Honestly, it made me respect her songwriting even more to realize how smart she was to not put those godawful verses in the original version.

HUGE agree with this :clap3:the five minute version is one of the greatest songs of all time, easily, but the 10 minute version is a whole mess. as a stan, I'm thankful we finally have it, but it's not the one that'll ever be on any of my playlists :giraffe:

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26 minutes ago, Sazare said:

What does this even mean

 

taylor splices together a few disparate idioms that don’t actually make any sense together and you all wet yourselves

I had a typo, the original line is, "I'm in a new hell every time you double-cross my mind". I think the meaning is pretty straightforward, if I'm being honest.

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2 minutes ago, Bloo said:

I had a typo, the original line is, "I'm in a new hell every time you double-cross my mind". I think the meaning is pretty straightforward, if I'm being honest.

No, please explain what “double-crossing one’s mind” means. Yes, to double-cross means to betray someone, and cross one’s mind means to think on someone or something for a moment, but what is “double-crossing one’s mind” other than two English-language idioms awkwardly mashed together, masquerading as a clever turn of phrase? Is the subject of the song betraying her mind?


The lyrics don’t actually mean anything if you consider them for even a moment—as is so often the case with even her most heralded lyrics, e.g. “break me like a promise”—and any meaning you think you’ve gleaned from it can be more easily be chalked up to the findings of this study.

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25 minutes ago, Sazare said:

No, please explain what “double-crossing one’s mind” means. Yes, to double-cross means to betray someone, and cross one’s mind means to think on someone or something for a moment, but what is “double-crossing one’s mind” other than two English-language idioms awkwardly mashed together, masquerading as a clever turn of phrase? Is the subject of the song betraying her mind?


The lyrics don’t actually mean anything if you consider them for even a moment—as is so often the case with even her most heralded lyrics, e.g. “break me like a promise”—and any meaning you think you’ve gleaned from it can be more easily be chalked up to the findings of this study.

Well for me, it may be she’s so used to thinking of him as the love of her life, and now the thought of him creates a great deal of pain. And there’s a huge feeling of conflicting emotions when someone who you love has also broken your heart. I think the lyric makes sense and I love the line.

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1 minute ago, Juanny said:

Well for me, it may be she’s so used to thinking of him as the love of her life, and now the thought of him creates a great deal of pain. And there’s a huge deceit in someone who you love but has also broken your heart. I think the lyric makes sense and I love the line.

But that’s not “double-crossing her mind.” Maybe his “double-cross” is “crossing her mind” which would make more sense even if it’d still be clunky and on-the-nose, but that’s not what she said. What she said is ultimately word salad.
 

I’m happy you enjoy it, and I too like songs that don’t actually make any sense when given more than a moment’s thought (e.g. “I Want It That Way”) but I also wouldn’t use songs like these as exemplars of lyrical aptitude.

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13 minutes ago, Sazare said:

But that’s not “double-crossing her mind.” Maybe his “double-cross” is “crossing her mind” which would make more sense even if it’d still be clunky and on-the-nose, but that’s not what she said. What she said is ultimately word salad.
 

I’m happy you enjoy it, and I too like songs that don’t actually make any sense when given more than a moment’s thought (e.g. “I Want It That Way”) but I also wouldn’t use songs like these as exemplars of lyrical aptitude.

Well you know, this is art, not English school or philosophy to be honest. Lyrics and language is interpretable. I think the message she’s trying to convey is something of the conflicting emotions she feels when she thinks of him.

 

i relate to it well because when I broke up with my ex quite a while ago, every time he crossed my mind it was absolutely a duality of emotions: intense love for him but also immense sadness. It’s the person in the world you love the most, but also the one causing you the most pain. 
 

Double crossing the mind has its own meaning in its own sense to mean to deceive (which can also make sense here, for him to love her privately then not in public) but it can also mean to cross the mind twice in a way. If you think it’s word salad it’s whatever, but I definitely think it makes sense, we just have to agree to disagree—this isnt like the nonsense statements they used in that paper you poésies that ACTUALLY make no sense…

 

 

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On 11/22/2021 at 9:49 PM, ATRL Critic said:

ATRL Reviews

Taylor Swift - "Red (Taylor's Version)" - 7.2

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Taylor Swift - Red (Taylor's Version)

by @Juanny

Tragic loss in young romances of years gone by may find itself calm through the passage of time, but the aching crush of a broken heart remains permanently etched into your existence. “Regretting him was like, wishing you never found out that love could be that strong”, Taylor sings on the title track, featuring a more mature timbre and polished vocal quality, as she Begins Again the re-imagined version of her 2012 classic, Red. This album feels familiar: familiar in the breadth and fullness of emotion, deepness, and richness of songwriting. It is also different, as not only is Taylor’s Version of Red padded with music that (in many cases, sinfully and other cases rightfully) didn’t make the cut the first time, but the nuances of production on each song have changed in ways that have fans re-adjusting and re-familiarizing themselves in discovering her music once again. 

Finding itself at the crux of the album is undoubtedly the complete, Antonoff-produced, 10-minute version of All Too Well that, once regarded by fans as pure myth and lore, magnificently lives up to the long-held expectations of its audience. The necessarily long-winded epic interlopes original lyric with “original” lyric, slowly transforming a once blue mourning over her first true love, and painting it with the very red rage, fiery fury, and painful passion that the album is all about, as Taylor proclaims: “you kept me like a secret, but I kept you like an oath... they say all’s well that ends well, but I’m in a new hell every time you double-cross my mind”.

Taylor directs subtle, yet clear changes in production that make the songs sound new, yet recapture the magic of the original recordings. Treacherous features a more prominent and commanding chorus percussion, the guitar accompaniment on All Too Well is more somber and quiet as she adds a brilliant bittersweet pensive inflexion to the vocal in the line: "we're sitting in the car, getting lost upstate", and the chorus of 22 sounds cleaner and more compressed. This doesn't go without saying: no amount of reproduction could elevate Stay Stay Stay out of the lowest echelons of pop trash. She manages to stir up the new in a wonderful rendition of her self-written #1 country hit Better Man that was recorded originally by Little Big Town; and while she sounds a little bored toward the end, it no doubt satisfies the fans who have always wanted her version of this track. Her almost eerie anticipation of the “new fresh pop girl” in Nothing New (sun alongside the brilliant Phoebe Bridgers), that seems as if it could have been penned by 31-year-old Taylor herself in the era of Olivia Rodrigo as she notes: “... someone else lights up the room... the kind of radiance you only have at seventeen, she'll know the way and then she’ll say she got the map from me.”   

In Red, Taylor finds herself, a now 31-year-old woman far removed from the melodrama of young love and loss, revisiting a lot of the types of musings that made her the butt of misogynistic pop culture jokes: a crazy girlfriend, serial-dating mess. If the reception is any indication, she has done so with the same grace, attention, and fortitude as the same 20-something-year-old young girl did all those years ago with the mind of a much wiser and grown woman.

Score - 7.2

10 members of the editorial team participated in this review. Individual scores to follow.

 

Adele - "30" - 7.2

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Adele - 30

by @Ryan BTE

With ‘30’, Adele subverts expectations for what an album that’s “about divorce, babes” should be.

If you came into Adele's 4th studio album hoping for the soul destroying songs of the past like the anthemic ‘Hello’ or ‘Set Fire to the Rain’, you will be disappointed. See, ‘30’ is about reconciliation with one’s self about a decision made (to divorce her husband) and excavating one’s emotional baggage on the way to her new life. 

In Adele’s subversion, she also loses the “sing-along” anthems of the past for a more restrained, rawer and simplistic approach to lyricism and melodies. Gone is the portrait-painting lyricism that once described her lover of a time when they were young, instead replaced with the more direct “it’s hard to hold onto who I am”.

Production also feels more muted. Though she goes grandiose on the Disney sounding ‘Strangers by Nature’ and ‘Love is a Game’, overall the lack of melodies and booming R&B soul she was known for is missing, and it hurts. That doesn’t mean she didn’t deliver a stellar body of work. She never shines brighter than on the self-reflective ‘To Be Loved’, the scathing ‘Woman Like Me’ and tear jerking ‘My Little Love’.

This album may have helped Adele process the end of her relationship, but babes, what about us?

Score: 7.2


11 members of the editorial team participated in this review. Individual scores to follow.

 

kinda glad scores are the same because it would just stir up more ugly threads but i can't help feeling that both album deserved better scores

 

Spoiler

esp. my baby RED TV :toofunny2:

 

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4 hours ago, Sazare said:

But that’s not “double-crossing her mind.” Maybe his “double-cross” is “crossing her mind” which would make more sense even if it’d still be clunky and on-the-nose, but that’s not what she said. What she said is ultimately word salad.
 

I’m happy you enjoy it, and I too like songs that don’t actually make any sense when given more than a moment’s thought (e.g. “I Want It That Way”) but I also wouldn’t use songs like these as exemplars of lyrical aptitude.

I think she means it in a way that the thought of him is really unwanted. Crossing the mind is kinda neutral. Double crossing sounds like she's sick and tired of keep thinking of him and that those thoughts come at very unwelcome times. When she says "you double cross my mind" she doesn't mean the thought of him, she actually means him. Easily relatable after a break up. 

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7 hours ago, Eternium said:

It’s a bastardization of one of the best songs of all-time and a perfect example of why “less is more.” Honestly, it made me respect her songwriting even more to realize how smart she was to not put those godawful verses in the original version.

tea

the whole album is too long

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It's so difficult to rate Red TV. The original is really strong. Something like 8.5/10 for me. The bonus tracks drag that score down a bit. Now the vault tracks aren't bad, but they aren't that great either (sans Nothing New). Then you add the length of the album into the mix and it's something i would never listen to from start to finish. It's not an album, it's not a playlist... I don't know what it is. It's like a fan edition reissue and I don't have time for those. 

 

All Too Well 10 sounded really jarring to me initially because the contrast between older and newer parts was too strong, but eventually i've gotten used to them and now the track flows fairly smoothly. It's not as good as the original, but it's a cute expansion to it, which is not unwelcome. 

 

I'm not even gonna comment on the actual re-recordings as I haven't even listened to most of them. The ones I've heard didn't do anything in particular for me. I kept the original songs in my library and deleted all the re-recorded ones. 

 

So ye, I don't know how to rate this "album". But if I had to, I'd probably give it a 7.7/10 

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While I greatly appreciate the new additions, especially Better Man and Forever Winter, the re-recordings of original songs are often flat and unpleasant. WANGBT, 22, IKYWT and The Lucky One (no idea how this one was even approved) sound horrendous. Starlight and Sad Beautiful Tragic are the only ones for me that got solid improvements from the former versions. I’m glad that State of Grace was pretty nice since the original version is my favorite Taylor song.

 

A cute 7/10 altogether

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5.5/10 WAY too long and the vault tracks are underwhelming 

 

Let me expand I never cared for the OG Red in the first place its probably my 2nd least streamed Taylor album for a reason

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overall member score for 30 was 7.0 from 46 ratings!

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As with the original album, it has VERY high highs, but also lows (that WANEGBT TV is tragic to say the least)

 

7.5/10 - a very respectable effort with clear gems - the 10 minute ATW version is a masterpiece :clap3:

 

 

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I didnt like this at all. The songs I liked from the original album were ruined with the new versions - tinny shrill vocals and empty productions. The extra tracks, extended versions and whatever else makes up the 30 tracks were just not needed IMO. I still have hope for 1989 though. 

 

2/10

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8.5/10 since I don't like some vault tracks.

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Red (TV) is a solid album regardless of some underwhelming re-recordings (which only fans can recognise the difference I reckon). The purpose of the whole re-recording is to imitate exactly the original version and I think she did a very good job. Also, her vocal is much improved and the production is actually uplifting in some songs. The vault tracks are great addition. "Nothing New", "I Bet You Think About Me" and "All Too Well (10 minutes)" are clearly the highlights. 

 

It's a solid 8.5/10 for me. 

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I actually just listened to this today (unrelated to this). It's my first time hearing Red in any iteration, outside of the singles of course, and I totally understand why most Taylor stans consider it her quintessential album. The songs are really well-written and it's a cute tie-in before the obvious shift into becoming an MPG and her last twang of country until her 20s albums. State of Grace, All Too Well, Red, Begin Again, these are Taylor CLASSICS, and I'm sure the re-recording probably didn't change them too much. Even the 10-minute version of All Too Well is cute, though I don't really get the appeal of it over the original since it's got some weird lines (double cross my mind nn and I find it hard to believe she actually wrote "fuck" in 2010-2012).

 

The vault tracks are cute extra songs to the album that are quite fitting to the style of the main album, potentially being even better replacements for some songs on the actual album. However, my problem with the vault tracks is my exact same problem with the standard edition of the album. Why is it so unnecessarily long? I know that's kinda Taylor's thing or whatever, but it really mars the overall quality of the album. And then my "Taylor's Version"-specific complaint is... what on earth did she do to the singles? I never really cared for 22 so I probably didn't notice much of a change on that, but she ruined I Knew You Were Trouble and, especially, We Are Never Ever Getting Back Together. Which is funny because she didn't really change much with them, but what she did just is so weirdly obvious and sounds wrong.

 

So overall, pretty good album from Taylor. Folklore is still my favorite of her outputs, but this is maybe #2. 6.7/10

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