evermore

Taylor Swift - evermore I tried. I listened twice. I know there must be something in there. The critics tell me so. Younger relatives tell me I need to listen to her 'deeper cuts'. But it was all so one paced. One tone. And, truth be told, I got bored. The bearing of the soul, the exposure of the pain, it never felt genuine. Just calculated. It was only at the very end the last two tracks, that I felt there was some straightforward truth. Not for me. But I'm sure I'll get another opportunity. Best Track - Closure Worst Track - Cowboy Like Me 3.5/10

This gave me not much. I had to force myself not to quit this mid-album multiple times. Sounded like a cozy fall afternoon reading a romance book and drinking some tea. Voice nice, music chill. Not much variety within the album. This music would benefit from not being able to understand the lyrics. Strongly dislike those, meaningless stuff, but pretending to be super meaningful. Sounded like struggles from a boring romance book. That is not what life is and none of this explain why everything has such a sad tone to it. But wow she used „shit“ some times, what a baddie.

I gave it my best effort, but this is not for me. It's just so painfully vanilla in everything it does. Even the production is disgustingly clean and processed. I've seen massive praise for her lyrical capabilites, but I failed to notice anything that stands out. Overall, not necessarily terrible or anything like that, but it left absolutely no discernible impression on me.

cowboy like me é uma das músicas mais lindas já escritas, não tenho medo de dizer isso (e me lembra mcwexler, saudades meus pais) algumas músicas são lentas demais para o meu gosto, mas outras são bem legais e com letras interessantes. ela já foi artista mesmo né

If AI was creating music in 2020, this is exactly what it would sound like. Soulless, but easily digestible for the masses. 1/5.

I’ve had farts with more depth and substance than this.

Personally, this and Folklore may be her best (and most surprising) of her albums. Nothing wrong with Reputation or Midnights, but this is a strong indie, alternative feel that showcase her talent and brought some who were casual listeners into the Swifty world.

4/10 Taylor Swift, the first musician to become a billionaire primarily through music, rather than outside business ventures, cultural behemoth and icon to a legion of fans. Pretty much everyone in the developed world has heard her name and most, whether intentionally or otherwise, have heard at least one or two of her songs. But this is my first time properly sitting down and listening to one of her albums from start to finish. I know and enjoy some of her pop work, even though it’s not something I’d often choose to listen to personally, but this album is a more indie-folk focused effort than her more ubiquitous work. It also features songwriting and production contributions from Aaron Dessner of indie darlings the National, giving it extra credence in those circles. My first thought when spinning this up was that the production sheen of the sonic package was way too clean and precise. It almost felt like every ounce of emotion, dynamic and natural variance from each performance, both vocal and instrumental, had had its soul compressed, micro-adjusted and tuned completely out of it. It didn’t help that, in addition to that processing, things were then soaked in reverb, and often filtered to the point where any sharpness or edge was almost completely absent. In some respects there is something to be said for creating a vibe and tonality like that, and in places it almost felt like the album was drifting in the direction of an ambient folk album. Those moments were often where I found myself sort of mellowing in to things and starting to get swept up in the sonic ether. But the more standard pop music approach to mixing means that the vocal is given such prominence compared to the instrumental, that it felt like those two aspects could never fully gel in a way that satisfied the more ambient nature of the production. It’s pretty clear that Swift is an established and well regarded songwriter at this point, capable of writing fantastic melodies and solid hooks, and there are moments when that quality shines through. But in all honesty, I found quite a lot of this to be a fairly bland experience from a musical point of view. There were floating melodies that never really landed on a point, repetitive cycles that just became tiring, and every now and then a moment that would perk up your ears and get you hoping for something a bit more to grip on to. I think that lack of grip really sums up my experience of this record as a whole actually. While Taylor touches lyrically on brutally real moments of humanity, the musical production had so little edge or grit that the link between lyrics and expression was tenuous at best. And unfortunately, the most criminal of aspects in that regard was Taylor’s own vocal performance. It just felt emotionless, dynamically one dimensional, and lacking in any passion, grit or drive. It was almost like listening to a shellshocked person describing a harrowing experience at the point at which they had more or less mentally checked out of their body and were just reciting their story, almost robotically. It’s very weird. In truth, I think there’s actually something buried in this album, underneath all of the production and beige paint that was strewn across it, but it never really commits to being one thing or the other. Is it a pop album? A folk album? An ambient album? An indie album? It kind of ends up being all and none of those at the same time, while also being about 20 minutes too long. I do wonder whether this would have met with anything like the acclaim had it been a random nobody releasing it, rather than the biggest pop star on the planet. One suspects not. Willow - It’s some nice dual tracked and panned guitar to kick things off. But the vocal that comes in is just too clean and perfect, rounded off with too much reverb, compressed and precision tuned to a point at which it loses all character. The groove is a fairly nice blend of r&b pop, performed through a pop-folk instrumental mix. The melodic work isn’t bad, but it’s quite repetitive, and it just feels a bit too calculated rather than truly emotive. It’s pretty well executed, but I just don’t feel anything from it. Champagne Problems - This reminds me so much of something, but I can’t put my finger on what. Musically, it’s quite repetitive, although I do like the vocal harmonies, and the stacked vocal work in various places, although it’s way too reverb swamped. There is a little bit of development through adding extra instrumentation through the middle, but other than that, there’s not much in there to hold on to, and as a result it feels quite beige. It’s almost like ambient folk-pop. Gold Rush - This does a little more, and I quite like some of the rhythmic choices she makes with her vocal. It’s very indie dance-rock coded through its rhythms, though the tonal construction leans it more towards an indie-folk sound palette. It’s a shame, because I think there’s something to this, but it lacks grit and edge, and just when it feels like it’s going to take an anthemic leap, it just ends. ‘Tis The Damn Season - The almost thunder-like rolling of the percussion is quite cool, but again, it’s so reverberant that there’s very little definition to it at all. The vocal melody and rhythm are pretty nice. but I’d say the vocal is too dominant, and there’s an edge of distortion to some of the backing that doesn’t quite gel for me. It’s not bad though, and is probably the strongest cut on the album thus far. Tolerate It - The subtle electronic percussion here is actually really nice, but is perhaps a bit too distant in the mix. There are some strengths here, but it all feels a bit run-on, so there’s little clarity between sections. The general vibe and mix of tones and textures is pretty good, and there are some nice moments in the melody. I think the vocal gets a bit too rambly though, and the piano is quite repetitive and bland, despite being more dominant than the more interesting electronic backing work. No Body, No Crime - Ah, pop-country. To its credit, this has a bit more definition and forward momentum to it and falls more into the kind of thing I was expecting of this record. The main bulk of the chorus is quite repetitive, but I do like the transition out of the back end of it. The slight swung rhythm is pretty nice, but again it feels very dynamically one dimensional and over-produced. Happiness - This is another where there are some pretty strong moments, particularly from the vocal, both melodically and lyrically. The tension of the track bubbles along really nicely and it’s an interesting tonal blend that leans towards a folksy indie sound. The thing with it is that it never really resolves that tension, either through significant dynamic or thematic developments, and Taylor’s vocal just doesn’t have the gut-wrenching emotion to its delivery that the song is screaming out for, like you would get from a Jeff Buckley or Stevie Nicks. It’s all just too safe and the edges are all buffed off. Dorothea - I thought we were getting something a bit more dynamic here, but after a promising opening, it kind of settled into something fairly one dimensional again. I quite like the lilt of the drumming work here, but the piano work is incredibly repetitive. This reminds me quite a bit of some late 90s alt-rock, but as with much of the album, there’s not really any edge or texture to grip on to. And then it just… drifts away. Coney Island - The theme of this album is ambient inertia. It sort of trickles along, circling around the same motifs again and again, while lacking anything in terms of dynamism. It’s been a common complain, but everything seems so over-produced and overly precise. Give me some grit and human error so I’ve got something to feel. It’s not a bad song, necessarily, I just don’t feel anything from it. Ivy - And we drift back to the more country-tinged edge that’s been sprinkled through the record. I actually quite like some of the rhythms and melodies on this one. When Taylor sings in this sort of maudlin tone, she really doesn’t provide much in the way of nuance or emotion though. It’s almost like it’s been recorded line by line and had any humanity processed out of it. It’s another decent song, but it’s the presentation that I have more of an issue with. The chorus does start to connect a little better on this one though, and I think the slightly more front-foot approach to rhythm does help it along. Cowboy Like Me - We drag back to something slower now, though retaining a bit of a country edge. The slow roll of the groove is quite nice, and there are actually some quite nice melodic compositional moments where she drags a melody on in an interesting way. It’s very easy listening and I can see why people might enjoy having this on as background music. It’s gentle and comforting and doesn’t significantly deviate in intensity or dynamic in either direction. But for me, that’s not very interesting. And this album feels LONG. Long Story Short - The rhythmic flow to this one is quite weird. It feels a bit jarring, like it’s trying to do too much when compared to the much slower instrumental work that lacks any punch or attack in any of the parts. It’s like they’re almost trying to make a dance track, but still putting too much low pass filter and reverb on the drums, so it feels half hearted. It also actually jumps away from the dynamic middle ground that I mentioned on the last track. But it feels like it doesn’t belong. Meh. Marjorie - This does bring a bit of that forward momentum from the last track along, but in a more subtle way. I think some of the sound design, particularly from the electronic percussion and synth work, is really nice. It’s quite repetitive though, and the pop-music prominence of the vocals doesn’t let it do as much work as it could. There is a bit of development in both dynamic and intensity, with the gradual thickening of the instrumental work and prominence of the bubbling rhythms. I think this was pretty good, actually. Closure - There’s some more cool sound design here, but it feels quite disconnected from the piano and vocal work, which is just more of the same. It feels incoherent, like someone accidentally grabbed a Radiohead drum track, banged a low pass filter over it, and then played this fairly routine Taylor Swift track over the top of it. It’s super weird, though not in a good way. Evermore - This is quite nice, and the interplay between the piano and vocal work pretty well. The tempo change when Bon Iver comes in is a bit jarring, to be honest. It’s good when it gets going though, and Taylor plays much more strongly against Justin when they sing together, and this feels like the most emotionally connected moment on the whole record. It’s quite a pretty piece and while it’s not exceptional, it is probably one of the highlights of the record for me, and a nice way to close.

More acoustic sounding than I recall her being. Nice album.

it's pretty good, if a bit long. imo it's not special enough to warrant a place in the list along with 1989. 3.5

Inoffensive? But, you know, not a bad listen.

We've already listened to Swift's best album (1989), so anything and everything else is a downgrade. Too sleepy, too samey, too wannabe indie ... something about Swift's voice doing anything in a mid-lower register is grating (stick to chirpy pop, please, I beg of you! You were made for this!) A firm 2. Favorite track: Coney Island

The singing and backing tracks are fine but the lyrics are just... Banal. I can think of at least 5 other pop artists I would rather listen to than Taylor Swift. It was listenable.

Graaaaan album

Meh. I really like the song willow; no body, no crime and marjorie are alright. The rest of the songs literally sound like one run on song; fairly boring if I'm being honest. And I so like Taylor Swift quite a bit. Perhaps lyrically it's great but I didn't have the bandwidth for processing that this morning. Nice fall vibes - mellow piano background music - on this one too. (2.5)

Yawn

listen to kate bush listen to magdalena bay listen to olivia rodrigo listen to janella monáe listen to lady gaga There are so many female musicians making pop music you don't need to listen to this boring baige music made by somebody who actively doesn't contribute and actively drags down other artists in her space, who has actively fuelled a fan base that is hostile to other artists. There's better music that should be on this list. Taylor Swift shouldnt be here. It's worse than bad its boring and inoffensive in every way

In a day and age when I've been exposed to too much Taylor Swift, I have to say that I enjoyed this album. Taylor finds a recipe with this album (and most of her albums) and sticks with it. It's 2-3 tracks too long but overall a fine listen. I love the guest artists she brought in and I probably would have loved this album more if my daughters hadn't overhyped TS for the last five years. I give it 3.5 stars.

Confession, i like some of Taylor Swifts music (i own all 12 vinyl variants of Life Of A Showgirl*) but have previously avoided this one it was co written with one of the chaps from The National, another band I could never get into (boring). So this doesnt bode well. My preconceptions of this album are that it is souless cynical bandwagon jumping of limited interest to anone except her rabid army.of "Swifties". Maybe it was an attempt to woo 'serious' music fans, prove she has depth as an artist, oh and open new revenue streams. A cash register in folk's clothing....... Even the album cover reveals so much about her intentions here, the hair styling, the clothing, the fact that this is the only album without her face on the cover. It literally screams "I AM NOT A POP STAR"....newsflash, you are a pop star, so stop arsing about and get back in that dressing up box....and dont get me started on the significance of the.lower case e in the title! But who knows, it might surprise me. Taylor might have sequins underneath that checked shirt (i refuse to use the word plaid), and this might be great. Travk 1. Limp, like old spring onions Track 2 I hate it when she lowers her pitch to emphasise a point , these subject matter means less to me than Public Enemy' at least could appreciate that they actually faced adversity, this just sounds like a rich girl with issues...all of these songs sound the same. 3. I'm going to stop reviewing each track, i got as far as track 7 and decided that this was intended for a younger female audience, it's not terrible, but its not for me, it's boring, and I can't be arsed to go into great detail as I have suddenly become very busy at work, I have it on but nothing has made me look up from my spreadsheets. Didn't make it to the Bon Iver track, not that it matters, he's never excited me either... It's a bit of a dreary whinge isnt it...entirely lacking her usual energy, bit perhaps an acceptable soundtracilk for a cry wank. Footnote, Releasing the same record in "12 unique colorways" was perhaps the most cynical marketing stunt in the history of recorded music.....I only bought them cos previous experience has told me that they will be worth 3 times as much as I paid for them 24 hours after release as her insane fanbase decides they have to own them all..........so I guess this makes me an equally cynical, gullible, hypocrite.

Another tricky one to be truly objective about. I've absolutely nothing against Taylor Swift, if anything she seems like a pretty good egg. My issue is that she is a huuuuuge global superstar, overshadowing far more talented artists in a manner which I reckon is probably quite exclusionary for many of her fans. And that success mystifies me, not quite in the way of Sheeran who I think is actually a bad artist, but because aside from a couple of genuine bangers, I find her music very humdrum indeed. But maybe I just haven't heard enough of her stuff so here's a good opportunity to find out if I'm prejudging it all. Well, that's done. And my opinion that she isn't bad is confirmed. There's nothing especially wrong with her music, that at least some less-is-more production (it sounded so clean that it was devoid of any character whatsoever) and straying from a very noticeable formula couldn't improve upon. But it really isn't brilliant. The whole album felt like it was created by a computer programme designed to produce industry standard, inoffensive, moden pop where the parameters were adjusted a bit for each song. I listen to **alot** of female singer-songwriters, and if this precise album belonged to someone called, say "Jemima Frome", I'd skip through a few of the songs, give her a follow and almost certainly never listen to her again except when she pops up on my release radar with another pleasant but forgettable song. So the whole thing is solidly 2.5 middle of the road...do i go 2 or 3. Heart sasys 3 because it's all awrighis'pose; head says 2 because it resents the distortion in the fabric of musical space-time that gobbles everything up. soooo.....head...2

i dont wanna...

Yes, yes the music bland, of course it is. Including a swear word here and there seems so calculated to me that it does nothing to disperse the criticism of bland and uninspired songwriting. Quite the opposite, it seems like they were included specifically so that fans could point to them and pretend that this isn't a mush of same-sounding heartbreak songs with little to no diversity in the lyrics, which are sometimes so strange I cursed myself for paying any attention to them. At the same time, I cannot give this a 1 in good conscience. I have listened to far worse albums to do that. If you listen to some of the things people say online you would expect bleeding ears but it really is just boring. There is nothing here to get excited about but also nothing to hate that much, at least musically speaking. This is music made for the lowest common denominator, why would it sound ear-grating? It truly is spice-less and bland and so is all the more forgettable. Best songs are No Body, No Crime and Long Story Short, mostly because they actually do something with the beat that doesn't put me to sleep. 4/10, this isn't extremely good, this isn't extremely bad, it is white bread. Serviceable but you can always have better.

Good but not my thing

I remember thinking that this was her best album, which is probably still true but it doesn't really matter anymore. More of the same except this one has some sanitized folk elements. You can make an easy argument for Taylor being an essential artist, but she's essential in the same way that Avenger's Endgame is an essential movie. Whatever, it's a fine album. I'm just happy I won't run into her anymore during this project. Favorite track: the one with the National on it. I can't be bothered to check what it's called right now.

Taylor Swift makes music for people who read books. I do not read books. This music is not for me. She does do a good job on this project putting together a tracklist that holds a cohesive sound and feel. I also respect the way that she can dip into other genres to give songs a sound that is unique to just that track on the album. Features from HAIM and Bon Iver truly elevated a couple songs on this project.

Here we go again. Man this is a slog of super generic music. I did a thorough listen through, making sure to read along with most of the songs. I’m trying. In the end, this is the same kind of music as Noah Kahan which I just cannot get behind. It’s so vanilla it hurts. This isn’t to say she’s a bad song writer, it’s just not my style. I’d like to think the emotions Taylor sings about are a lot more complex than she makes them seem with her writing. I don’t think she’s a bad writer per se, But how would we the listeners know? Her lyrics are so in your face as to how to feel, Is it purposely dumbed down/simplified for her target audience? (Younger people) And admittedly that does work. The basic lyricism does get the point across, has me thinking of people, places and experiences without really having to pander on them almost instantaneously. But that kind of writing simply doesn’t stimulate my mind. It’s boring, and offers no replayability for me personally. I can give credit where it’s due though. The arrangements are beautiful. And this record clearly sent this folk sound back into the mainstream again, which domino effected its way into tons of genres. (The folk revival stuff is super over done now, but that’s just a testament of this record standing the test of time six years later IMO.) I wouldn’t come back to this, as this isn’t up my lane at all. However, I can still respect the art.

This is Taylor Swift magnum opus genuinely. You hear this and you understand the artistry and the craft. 5 months after she redefined music she did it again with evermore. I know I sound dramatic but do we forget that the Eras tour is the most profitable concert ever. Nobody will ever been on her level. Despite all that surrounding that she brings a level of confidence and lyrical poetry that is not norm now but felt so real and inventive back then literally first 12 tracks are no skips which is something I could not say for Taylor other records she found it here. She can really sing and the stripped down songs are really so beautiful. The folklore and evermore motifs work so well. Evermore is Taylor’s best song and it’s just so amazingly written and the piano is so somber yet powerful. Close to perfect but who cares I will never doubt you Taylor

So I know her pop songs from the radio and they are fun and catchy. This however has surprised me completely! I knew she did some country songs before she went pop but this is just like a whole new level of Taylor Swift that I never knew existed. A very modern release from 2020 and possibly one of the newest albums on this list but it has every reason to be on here. Personally I could live without the long pauses between lyrics that I must admit by the end of the album was starting to irritate me. But the tracks themselves show what an impressive songwriter Taylor is. Every song starts with a blank page in my mind and by the end I have painted the picture of every lyric sung and it’s a masterpiece. Production wise it sounded perfect too but I suppose it should in this day and age. I’m sure in 40 years time when they talk of Taylor she has to be held up with some of the biggest artists of all time. Best track- I absolutely loved loads of them but the one I played again straight after the album finished was ‘no body, no crime’ Worst track- ‘cowboy like me’ 9/10

Vanilla music!

This is a pretty album that has a clear esthetic, I just didn’t hear a lot of depth in the delivery. Supposedly, the content is there in references to real people and characters that is subtle and you have to work for it to make meaning of it, but I just don’t find that I care to do that, the music isn’t compelling enough.

Why is this on here?

probably a 3.5 to me, i think i would want to listen to this again to have it really sink in. im torn, i think on a second listen i would appreciate it more... but im gonna be a bad guy and give it a 3 right now. open to re-scoring in the future.

Boooo

Started off pretty strong in my opinion, but it kinda tapered off after that. Its clearly not her best album and if this one makes the list over Red or Fearless, I'd be very surprised. Also, having never listened to this album I suddenly understand a handful of memes from the Covid era.

I absolutely love Taylor Swift the pop star. I couldn't care less for Taylor Swift the depressed singer songwriter. It's hard to feel sorry or sad for her when this is her 9th album and she's already a billionaire. Maybe if this was her second album it would be different. It's not bad, it just doesn't connect. I can't relate to the one hardship she has in her life, especially with today's current Taylor situation. If I'm going to listen to a sad lonely depressed pop star breakup album it's going to be Olivia Rodrigo's Sour.

Not a fan

Painfully boring at times but songs like ivy and no body no crime were good. I'm simply not millennial enough to get behind the all lowercase song names. Probably her best album of the 2020s?

Christ on a bike. Moments, but not really good as such, just had a few moments that saved it from the very bottom of the barrel. There are serious artists that should hang their heads in shame for propping up this soulless guff.

A stripped back version of her sound but still a Taylor Swift album. Folky, country, and a low key production. Describing it as indie or alternative is a large misnomer, it's just a cabin in the woods and covid restrictions

I dig sad songs, but this was not for me. Maybe if I was a longtime Swiftie I might have different opinions. But as it stands this felt like a poor attempt at a break up record.

Was pretty good, laid back, I know a fait few of the tracks from having two Swifties for daughters, but there's some lovely stuff on this, would probably rate it 3 but my daughter's might disown me, so 4. Which is fair a 7/10 seems about right.

forgettable. almost cooked a couple times

Not for me, but I get why people are into it

peak taylor

I liked this one better than 1989 but that is probably because of the addition of Aaron Dessner and the leaning to indie rock. Coney Island is lovely, the male voice counterpoint is so gorgeous. However, again, felt all the songs had the same construction and nothing really caught my attention.

I wish she’d make albums like this again instead of Life of a Showgirl. The Dessner Difference! Weirdly a lot of it is in 4/4 but SOUNDS like it’s in 3/4. I don’t know why that jumped out at me in particular.

Ahhh what a way to celebrate these days of fall! Evermore is a cozy classic. Miss the old tay

Folklore was an album that was most likely planned to drop in 2020 before anyone knew of any sort of pandemic or what Covid-19 even was, but evermore was mainly dropped as an additional comfort package for music fans across the world. I think it is pretty agreed across the board evermore is a bit of a drop in quality from Folklore, but still this project has a lot to love if you enjoy Taylor's style of Folk Pop. I like that this project has a bit more features with Bon Iver returning again along with HAIM and The National. One of my main complaints that is a lot more evident here than on Folklore is that this project feels way to squeaky clean and polished, some of the instruments here feel oddly fake and do not flow into the music because of how they are mixed. While I do think those complaints hold this album down, there is enough here to like for me to be able to enjoy this album still as a nice companion piece to Folklore. I am definitely not the guy to return to Taylor's music often, but in the right mood I could definitely see myself coming back to these two. Not bad T. Swift!

Really nice, chilled and very easy to listen to. Enjoyed the first half of the album more than the latter half, but that's probably due to the fact it's an hour long and I started losing interest closer to the end. Some beautiful songs with some lovely lyrics throughout. 3.5/5.

I find the mellowness/calmness mixed with the folk acoustic instrumentation on this album really soothing and relaxing. The production I think is one of the albums strongest suits, the atmosphere is simply amazing. A lot of the themes on the album I can't relate - which is fine - as some of the hooks and melodies make up for it. I think ultimately I'm just not the right sort of target so these songs don't really strike a chord with me, even though the production and mellowness does. So, even though the 60 minutes felt fast, I didn't feel really fulfilled. I'm ambivalent towards this one; it being on the list and by itself. Highlight Song/s: "Ivy" and "Long Story Short"

no lo volví a escuchar pero me gusta bastante, un poco menos q folklore

I'm a fan of pop music, and not ashamed to say that I have a Taylor Swift playlist on my Spotify account. None of the songs from this album are on it. On evermore, with it's pretentiously missed out capital letters , there is none of the stomping fun of We Are Never Getting Back Together, nothing like the glorious good-girl-meets-bad-lad swoon of Wildest Dreams and a complete lack of the cool pop swagger of Style. It's so annoying that the first 'critically acclaimed' Taylor Swift album I've heard on the 1001 is one of the beigest collection of songs I've heard for a very long time. From the opener, 'willow', through the dreary 'happiness' to the only upbeat song, 'long story short', it's just a collection of the unremarkable punctuated by the occasional clever lyrical moment. 'no body no crime' is possibly it's highest moment. Not sure if I'm more annoyed with the critics or Swift. With such a body of work, and with a high volume of output, she shouldn't have to become an Ed Sheeran soundalike to get positive critical review. A low 2 stars

I can only view this album through a heavy layer of cynicism. It’s definitely not bad and I prefer this style compared to her pop stuff. However, I just can’t help but think about how engineered and malleable every part of her public facing persona is, and it makes it very hard to give her any kind of credit for artistic expression. This one feels more personal than a lot of what came before it (and has come since), but it seems impossible to determine how genuine it really is, which really undermines its potential impact. The intimacy just isn’t believable to me, so the whole thing passes by without leaving much of an impression at all. The cover photo could be millions of different women, and I think that’s a pretty good summation of what this album has to offer. I don’t mean to knock anyone who loves her work, but I don’t think you can reasonably deny that this is kind of the musical equivalent to a Marvel movie.

some of taylor’s best work, but i still don’t like her

A tiny bit of my faith in humanity is restored now knowing that the most popular person in human history actually fucking rules.

Inte dålig men väldigt tråkig. Det blixtrar liksom aldrig till utan är mellanmjölk hela vägen. Jag har svårt att förstå varför hon har en sådan massiv fanskara. Hennes texter är rätt manscentrerade och lite meningslösa. Men det är en annan generation så det är kanske därför? Man vill ha det oförargligt och gulligt och det är fine men det är inte för mig.

Was this just any excuse to get a Taylor Swift album on the list. Nothing interesting or ground breaking here and it's pretty dull musically. Also, I'm confused by wikipedia's genre tags on this. Alt-pop, chamber rock, folk-pop, indie-folk and indie-rock? At a push I'll give you folk-pop, but the others? This is about as indie-rock as my farts! But I suppose we now live in a world where Sam Fender is classed as "indie-rock" so there you go.

This me favourite tay tay album. It good

she’s not for me but this is one of the albums that is sonically acceptable

Pretty sure even the switties consider this a lesser effort. I'm not full anti swift but you've gotta admit she has had the occasional leg up. The 'greatest songwriter' propaganda around this time irked me no end as well.

I’ve heard this before. My wife is a Taylor swift fan; I don’t dislike her and I think she’s got some good songs. There’s some good ballads and some decent melodies, but she seems to reuse a couple phrases in different t songs throughout the album. Altogether not bad, I like it just fine.

nevermore

like it's fine? I don't hate it or anything just like I probably have a bit of a Taylor Swift bias

This album is okay. I don't have much to say about Taylor Swift that hasn't already been said a million times by a million thinkpieces. I like that this is a little quieter and introverted than some of her larger pop records. It seems very fitting for the COVID-era it was released in, in that regard. A few years later, though, we all have a little less time to sit down on an hour-long record that is as word-heavy and has as many thoughts as this does. Look, I love Springsteen and even I think some of these early tracks needed fewer words and a little more finessing, and unfortunately Swift has the same problem here. Even more unfortunate, I don't know that there has been any editors or people saying "no" since this period, and as such evermore begins an elongated era of every single thought spilling out of her head with no effort to determine what can make the best song. Quantity does not equal quality. All that said, purely within the context of just this album, it was okay. "Long Story Short" was my favorite track.

Smooth, smart swifty

Is it heresy to say evermore is a bit bland, repetitive, with some clunky lyrics, probably? Two stars becomes three because of Aaron Dessner's involvement, bringing some of this close to The National.

Can’t deny that she can write and sing. Not fully to my taste and will it stand the test of time?

This album feels somewhat in the shade of its Folklore sibling. But it's hard to deny she writes a brilliant lyric.4*

This started off pretty good - the production and songwriting is not groundbreaking but very well executed on the first five tracks or so. I especially enjoyed “gold rush” and “tolerate it”. But damn “no body” really breaks the flow and the sound of the album for me, and I found this and “happiness” to be pretty corny. “Dorothea” is a fine track tho. Damn, lost the rest of my review, didn’t save I guess. Anyways, the rest of the album was okay overall. 6.5/10

This album feels like fall. It stayed the same tone the whole time but was actually pretty good.

I mean, it's fine, but it doesn't belong here at all

Ok

I respect the fact that this is the defining popstar of the first quarter of the 21st century, but from my educated middle-aged, American white male ears every song kind of sounds the same. That’s a broad dismissal of a titan of modern songwriting, but I’m always surprised at how generic it all sounds. This album is *fine*, it’s clean sounding, the songs all feel like emotional scene soundtracks for middling TV series. I’ll say this, it’s consistent

I let out the biggest groan when this album came up. Taylor Swift is the final boss of music for the masses. Her voice irritates the hell out of me, especially when she does that like speak singing thing she does so often. I find her songwriting to be basic and boring - oh poor me, nobody loves me. Again, it has me wondering what makes an album worthy of making this list, as she has better or at least more fun albums.

4/5

The folklore/evermore eras are my wife's favorite eras of Taylor Swift but I had never fully listened to either of the albums until now. As someone who is a casual fan of Swift, and who's favorite era is 1989, I actually enjoyed this album. Its a very mature sounding record for her, especially when compared to the huge recent step back that was The Life of a Showgirl. The stripped back instrumentation means she can't hide behind catchy beats and she doesn't. She still manages to bring her catchy pop hooks to the folk/country instrumentation and it works well. Evermore is not a perfect album. I do find it a bit long and one note especially as it got closer to the end. Its not taking the title of favorite era away from 1989 but I did enjoy my time with this album. 4/5

It hurts me to round this up to 2 stars, because so much of it is so bad, but the music is mostly pretty decent indie folk, and The National and Bon Iver do manage to create some pretty good songs. There are some other okay spots, but Swift just so often falls back into her cheesy, same pop hooks and patterns that feel vapid. The only other, third song I felt something on was "Happiness," which I think could be redone by a good Midwestern Emo band. However, the album isn't "offensive," and so I think a 1 star is unfair. I'd give it 1.5 stars, though.

T-swizzle strikes again

I'm not anti-swift nor a huge fan, but I can appreciate her work and I fully recognize that she's one of the greatest artists of my time. 'tis the damn season is the first song on the album that stands out to me. I do like Matt's (The National) voice for somber songs. Most of this album feels, idk great for when you're feeling wronged. Marjorie was the next song I enjoyed.

This was great. I like her bombastic club songs best but this very stripped down album was splendid. I could see these songs also working as the club songs too. It was just good.

Nice, but not memorable to me.

Listened before?: i've probably heard some snippets of tracks from various white womens' tiktoks. otherwise, no Willow - 3/5 Champagne Problems - 2/5 Gold Rush - 4/5 'Tis the Damn Season - 2/5 Tolerate It - 3/5 Happiness - 3/5 Dorothea - 1/5 Coney Island - 2/5 Ivy - 4/5 Cowboy Like Me - 2/5 Long Story Short - 2/5 Marjorie - 2/5 Closure - 1/5 Evermore - 2/5 Average score: 2.4/5 ⭐️⭐️ i feel like it's really easy to hate on Taylor Swift, so i'll put my opinion as nicely as i can: while this album is one of her "best" i've listened to, her music generally isn't for me. her songwriting and storytelling is not totally lost on me as a listener. she's quite skilled in that department, i'll give her that. she's painfully mediocre as a singer and performer though, especially in more recent albums. when i wanna listen to good pop music, T-Swift is the last artist i'd consider listening to unless i had to like today all that aside, i just found this as bland of a listen as anything else she's ever put out. the songwriting is creative (for the most part). the production was polished, which is to be expected for her music. neither of those things did much to make up for how uninterested i was for the nearly entire hour i listened to this

​Not bad at all

Brutal

nice enough

I would argue that Taylor Swift is less a musician and more a poet with a fantastic ear for pleasing sound. Her songs are FINE but her lyrics are what open up the hearts of her fans. I am not a fan, per se, but I appreciate her hard work and her contributions to the musical world. That being said, many of these songs sounded so similar, I didn't notice when one ended and one began. It all sounded like one large soothing blanket sung by a girl in her basement with a really high-end sound setup.

Maybe it's the fact that the guy from The National produced so much of this, but I really enjoyed this album. I'm not quite ready to adopt Swiftie status, but a solid performance.

“evermore” by taylor swift: no capital letters, no crime

Still not really a fan, but this kinda won me over anyway.

I've never listened to a Taylor Swift album before. I get it now - storytelling focused on female angst. Its really not great but I'll give some credit for the degree of her popularity. I guess those Swifties should be respected.

I understand that I’m not the target audience for these kinds of lyrics, but objectively, I didn’t think they were very good. Musically, it was inoffensive but painfully dull and overly long. I seriously doubt this album will stand the test of time.

I find Taylors’ music soo boring, cheesy and overdone. I’m sure it’s deep or whatever, I just don’t get the hype.

Likt Kent, men svårare att hänga med i texten pga engelska

Well done but repetitive

Pleasant throughout but gets boring halfway through

Never really listened to Taylor Swift. This was nice.

I absolutely loved 1989. This is a totally different album; it’s not even similar. While Swift is a decent singer/songwriter, she’s better as a tween pop singer. I can tolerate evermore, but I don’t think I would listen again. There are to many far better singer/songwriters out there. 3.25 stars

The album feels undeniably good while at the same time unenjoyable for me. It was middle of the road, I feel like I have to go at least 3.25? It's better than other 3s I've rated, but no takeaways from me, and I'm not convinced I like it all that much.

Honestly, not bad! Good writing, good musicians, production. Not my jam, but much better than I was expecting.

Album #500!! Cue the confetti. I am proud of myself. So, Taylor album #2. I have mixed feeling on this one. She writes a good song, no doubt. The music is pretty, with lovely piano and guitar, all played by Taylor herself I believe. Her lyrics are clever and evocative. But the single subject matter, again, like “1989,” is her love life. And not the full scope of a love life, but repeatedly, about short-lived loves that are now lost. The tone throughout is bittersweet yearning, an inability to let go, a wistfulness for short experiences of that particular happiness of being in love. It felt relatable on “1989,” written when she was 25. This one comes five years later but there doesn’t seem to be emotional growth. It’s clear why legions of teenage girls worship her—the romance of yearning, of wanting and almost getting, and being stuck in that cycle as though that is what love is, feels very adolescent. I wonder when Taylor grows up.