Midnights, the tenth album, Taylor Swift, is in a broader aspect like a puzzle, just like every other major album of recent times. The tradition of the announcement, promotion, and release is somewhat outdated now, and the recent albums come following clues and hints dropped by artists using social media platforms. It is a way to make the fans more curious and excited about the upcoming albums by engaging them in guessing what will come next. Sometimes the entire process is prolonged, and it has happened with Midnights too. Diversified things came out before the album itself, including Shift’s eye shadow and conspiracy theory.
Midnights Review
People are still inevitably intrigued by the next move by Taylor Swift. People nowadays talk a lot about how big stars are willing to serve their fans, and their brands become recognizable instantly as numerous streaming platforms are adding new tracks to their playlists daily. Lana Del Rey, the marquee-name guest of Midnights, knows about this approach very well but not about the approach Swift is stuck. She has, instead, pivoted continually from guitars to synthesizers and rock to pop.
Taylor Swift broke the cover with the latest material in the case of the two folk-rock albums released during the pandemic: Folklore and Evermore. Yet the future direction of the American singer is unpredictable.
Swift came back with electronic pop in Midnights. The tones are filtered synth, the bass is influenced by dubstep, and the beats are house-inspired and trap.
The Thought and the Songs
Midnights is an album that rejects dealing in neon-hued bangers with which the pop stars generally return.
Guitars beautifully back the voice of Swift and give a feeling that the song may surge into the chorus, but it never happens. The song Snow on the Beach is just a fantastic combination of the melody and musical styles of Del Rey, who collaborated in the song. The most amazing fact is the restrained melding so that the voices of the pop icons don’t get mixed up.
