discotitzz

Whilst they certainly have very distinct styles that are quite dissimilar on the surface, Taylor and Gaga are both mass market pop stars with considerable overlap in themes and an emphasis on accessibility over alienation. That's not to negate that Gaga has made some genuinely challenging music, especially earlier on, and her penchant for dark, cold soundscapes can make the music less immediate than Taylor's preference for brighter, warmer production. But I do feel that her persona, visuals and marketing gives people the impression they are listening to something more experimental and provocative than they actually are. She does TikTok dances for her singles, she works with Bruno Mars and Ariana Grande on #1 hits. Bjork's most commercially minded song wouldn't even get played at the mall

I mean, what does Taylor Swift gain from dog whistling to racists and Nazis? Her core fanbase is mostly comprised of women with left leaning values, it makes no sense as a business decision.

Couldn't care less whether SZA "shaded" Taylor, but I do think that the allegations of racism surrounding this record, which range from an uncharitable reading of her using AAVE in an admittedly clunky way to genuinely absurd (the lightening bolt necklace), are weird and much of it being fuelled by white liberals with a guilt complex nnn

Does Ajay substantiate any of her critiques of anything ever?

I always viewed MDNA as an album made for touring and, in that light, would say Midnights is the closest thing to MDNA of her albums.

Flowers is worse than anything on Showgirl

Feel like I already addressed this in another comment but let me reiterate that the ultimate preference would've been no song about Charli because it's a nothingburger of a situation, but if she felt so heated as to dedicate a song to her, then make some effort?

I would prefer that she didn't make a song about Charli at all, she hardly feels like a worthy adversary But, given the option, I would prefer something that makes me feel something rather than nothing.

Actually Romantic's main sin is being too restrained. We know she's capable of a methodical, cold-blooded take down; she could've bitten off Charli's sound for a song and really got her, but alas, she wants to make IFYE's for every album eternal.

In the same boat here unfortunately nnn the whole "I like my friends cancelled" conceit feels tacky, no matter how tongue in cheek she may have intended it.

RTF is one of the most earnest and heartfelt songs she's made since Fearless, it is growing on me like a rash

If anything, it more gives the pop music she was making on Red (sonically) but, generally speaking, it's substantially different enough from her previous pop outputs to feel fresh among her discography. Ironically, the most familiar sounding song (Elizabeth Taylor) is my current favourite nnn but I'm sure others will take its place. I really like what she did with the George Michael sample, very clever.

The triple post… this ******* website

The triple post… this ******* website

Being perched for a new Taylor album post-Lover and thinking that she will ever go back to that maximalist pop radio sound with neutered lyrics is setting yourself up for disappointment; we will never get another 1989 because she made it with a a specific goal in mind, which was to become a full blown pop star, and she achieved it. Why would she do that again when she's been able to reach the heights she has since that album without having to make those concessions?

Being perched for a new Taylor album post-Lover and thinking that she will ever go back to that maximalist pop radio sound with neutered lyrics is setting yourself up for disappointment; we will never get another 1989 because she made it with a a specific goal in mind, which was to become a full blown pop star, and she achieved it. Why would she do that again when she's been able to reach the heights she has since that album without having to make those concessions?

Being perched for a new Taylor album post-Lover and thinking that she will ever go back to that maximalist pop radio sound with neutered lyrics is setting yourself up for disappointment; we will never get another 1989 because she made it with a a specific goal in mind, which was to become a full blown pop star, and she achieved it. Why would she do that again when she's been able to reach the heights she has since that album without having to make those concessions?

What I've heard so far is promising, especially Elizabeth Taylor and Honey. The only one that I am apprehensive about (and always was tbh) is Cancelled, which has a decent enough chorus but feels ham fisted lyrically. I wish she would put the persecution by her haters stuff to rest gonna wait for the actual release to make any real commentary tho

And I was sat for every single one. I'm glad she doesn't do that kind of promo anymore, I haven't even watched the ICDIWABH music video

Taylor Nation is throttling the servers to prevent leaks being spread

He wasn't wrong, it has a similar soundscape; the warbling nocturnal synth pop. I wish we had similar insight this time around

When the next album is just all Bigfoots

Hearing, the who's who, of "who's that?", after GAS? used to piss me off so bad, I deleted WAOLOM from my library. The songwriting is okay, but everything else about the approach to the song is so irritating I really hope Cancelled! isn't a retread of this concept because I'm really tired of it.

That's all well and good, but it is impossible to judge how the lyrics will sound without hearing the song, so the concern about syllables seems premature, given we have no idea how she may fit it into the meter of the song. As for how jarring it is to hear the flowery prose existing alongside slang, well, others have said all there is to say on that; it's an intentional choice and I commend her for pushing with something to differentiate her songwriting in this phase of her career as opposed to the straight forward conversational style of her earlier work, whether or not if I personally enjoy the fruits of it

i just don't get the appeal of The Moment I Knew and it makes me cringe a bit when swifties use it as an example of her best songwriting