Taylor Swift’s surprise album “folklore”: a track-by-track review
On July 24th, Taylor Swift saved the year 2020 by releasing her softcore indie-folk masterpiece of an album “folklore”. Throughout this album, she explores an alternative sound never heard from her before. After spending over a week listening to almost exclusively these songs, I’ve finally decided to write down some of my favourite segments from an album that I believe ultimately has no skips.
the 1
Kicking it off with an up-tempo pop bop, this song is perfect for the passionate heart’s pastime of romanticizing what could have been. It is also the perfect opportunity for Taylor Swift to show off her new mature sound by making a statement and swearing so naturally on the very first track of her new album. With bittersweet lyrics such as “And if you never bleed, you’re never gonna grow”, this song is charged with great feelings of nostalgia and of growth. As the narrator mourns the past, there still remains a hint of optimism in many lyrics, giving the song that spark of up-beat buoyancy.
cardigan
As the catchy lead single of folklore, this song is the first piece of Swift’s ingenious trilogy, telling the story of a teenage love triangle. Although “cardigan” happens to be my least favourite of the three-part story, I have yet to feel disappointed to have its thrilling chorus stuck in my head. The hardships of young love and discovery are embodied in the lyric “When you are young they assume you know nothing,” as it is repeated multiple times throughout the song. A subtle statement towards misogyny can also be found in the lyric “Sensual politics,” as it references the book “Sexual politics” by Kate Millet (a landmark feminist work about the mistreatment of women in pop culture).
the last great american dynasty
Taylor Swift’s impeccable talents for storytelling are perfectly exhibited in “the last great american dynasty”. The song tells the real-life story of Rebekah and Bill Harkness’ scandalous marriage of the late 1940s. Swift bought the couple’s former Rhode Island house in 2013. As one of the richest women alive in her time, Rebekah was faced with a lot of sexism throughout her life. Since Rebekah’s experiences reflect Taylor Swift’s own struggles with misogyny, the songwriter draws a brilliant parallel between Rebekah’s life and her own by referring to herself as a “loud” and “shameless” woman, which were once the hateful slurs used against Rebekah.
exile (feat. Bon Iver)
Though I was at first surprised to hear the leading vocals of Bon Iver on a Taylor Swift track, I can now safely say that this is one of Swift’s best ever collaborations. Slow, spirited piano ballads have always been a specialty of her’s, and this has to be the best one since her collaboration with Gary Lightbody on the song “The Last Time” off of “Red”. The bridge is especially impressive, as Swift’s angelic voice intertwines with Justin Vernon’s deep, solemn vocals, resulting in a gorgeous, tear-jerking harmony. We truly couldn’t have asked for a better collaboration.
my tears ricochet
From the title, I could already tell that this song would leave me speechless. And with lyrics such as “And you can aim for my heart, go for blood / But you would still miss me in your bones,” I was nowhere near deceived.
“And if I’m dead to you why are you at the wake?” This song is a perfect tribute to the “old Taylor” being dead. It’s filled with references to her sixth album “Reputation”, making it into a subtly savage dig at those who’ve wronged her in these past few years of her career. The song still haunts me even after its 4 minutes and 15 seconds are over.
mirrorball
I have to admit that, at first, I was a little thrown off by this one. The melody that I now see as elegant and charming, seemed to me, at first, to be bland and minimalistic. However, as the song began to grow on me, I eventually realized that “mirrorball” is actually extraordinarily deep.
The song has a dual meaning. First, it is a metaphor for the way Swift has grown with her music and no longer conforms to the “good girl” image that she once withheld. The lyric “Spinning in my highest heels” references her lyric “He didn’t like it when I wore high heels, but I do” from one of her old songs “Begin Again” off of her album “Red”. Second, the song is a metaphor for the way her music is interpreted by her audience. A mirrorball is usually used to reflect light across a dance floor, but it can also function as a mirror; reflecting each and every angle of a room. The lyric “I’ll show you every version of yourself tonight” is a reference to the way Taylor Swift’s music has resonated with a large number of people, even though these songs were never specifically written about them.
seven
“Your braids like a pattern, love you to the moon and to Saturn”—this song has a subtle sapphic energy, and even reminds me of something that could have been written by Phoebe Bridgers or by Mitski. The yearning and the innocence of Swift’s lyrics, mixed together with her sweet, fairy-like vocals and the soft melody of the song are perfectly interlaced in a dreadfully sweet tale about a young child consoling her deeply traumatized friend. The song is unique and inventive and nothing like Taylor Swift has ever done before. It is also my personal favourite track off of ‘folklore’.
august
The second part of Taylor Swift’s trilogy (and my personal favourite of the three) is a hopeful tune about a girl wanting to be with someone who cannot be her’s. Its rose-coloured lyrics and swift pace perfectly illustrate this short-lived affair that was never truly meant to be. This song is dazzling in every way and is reminiscent of growth with momentous lyrics such as “Back when we were still changing for the better.” It is also one of my favourites to put on during a pleasant car ride home under a delicate summer sunset.
this is me trying
This song is relatable as ever. “They told me all of my cages were mental / So I got wasted like all my potential,”— the rawness of these lyrics depict Taylor Swift’s humanity behind her music. I think it’s safe to say that a lot of the lyrics in this song hit a little too close to home. It’s definitely a track I’ll be putting on whenever I need a little bit of faith in myself. After all, if Taylor Swift can keep trying, so can I.
illicit affairs
Right off the bat, this song reminds me of the bittersweet melody of “Sad, Beautiful, Tragic” from “Red”. Although both of these songs tell very similar stories about a relationship that cannot be made public, “illicit affairs” is definitely a step up from the last. The lyrics “And you know damn well / That for you I would ruin myself / A million little times,” leave me stunned and speechless. The song is creative and poetic. Simple words are repeated over and over again in lyrics such as “But they lie, and they lie, and they lie,” amplifying their implications and their overall effect.
invisible string
The only word I can use to describe the 11th track of this album is pure. A beautiful love song is just what this album needed to tie it all together (pun intended). The colours used to describe the way Swift is seeing the world in such a brighter way since falling in love are an exceptionally brilliant addition of imagery. When I listen to “invisible string”, there’s a movie playing in my head; showing me the gorgeous golden leaves on the trees of Centennial Park and the purple-pink skies Taylor Swift found fascinating enough to put into a song.
mad woman
The entirety of “mad woman” is a subtle, yet cunning way of exposing the way the media has treated Taylor Swift's image. By embracing how the public has so often portrayed her as “crazy”, she’s able to tear down these lies, one verse at a time. The foul language in the line “Does she smile / Or does she mouth “fuck you forever”?” is especially important to Swift’s intentions of distancing herself from the label of “America’s Sweetheart”. As Taylor’s vocals hit impressive notes high and low, I find myself incapable of resisting the urge to sway back and forth and sing along to arguably the best pre-chorus Swift has ever written.
epiphany
This song is extravagant, complex and sends shivers down my spine every time I hear it. Although “epiphany” is about Swift’s grandfather who fought in the war in 1942, many people believe that the song is also an allusion to the coronavirus pandemic. In the second verse, Swift writes “Something med school did not cover / Someone’s daughter, someone’s mother / Holds your hand through plastic now,” which could easily be a reference to the healthcare professionals who are working tirelessly during the lockdown, as well as the patients and their loved ones who are being forced apart during their treatment.
betty
If someone told me that “betty” was from Swift’s second album “Fearless”, I wouldn’t think twice about it. As the final piece of the trilogy, this song is a modern version of Taylor Swift’s old, country-esque style. The chorus also gives me “The Moment I Knew” vibes. It’s written from the perspective of the character “James” and, since Taylor Swift is named after James Taylor, many people believe that she is actually linked to this character. Nevertheless, Taylor Swift writing a song about loving a woman is utterly powerful and I’m totally here for it.
peace
A sly reference to astrology can be found in the first two lines of the chorus of “peace”. “But I’m a fire and I’ll keep your brittle heart warm / If your cascade, ocean wave blues come.” Here, Swift calls herself a fire. Which, as a Sagittarius, she sort of is. What’s even cleverer is that her partner, Joe Alwyn, is a Pisces: a water sign. A blue ocean’s wave.
It’s not only the cunning lyrics, but also Swift’s raw vocals that set this song apart. The first time I listened to “peace”, it was the very first lyric that hit me like a ton of bricks. “Our coming-of-age has come and gone,” is so personal to me as I’m on the brink of graduating high-school and becoming a legal adult. The lyric might also be a hint to the album beginning to come to a close on this second-to-last track.
hoax
Striking and heart-rending as it is, hoax is the perfect finale for a perfect album. Lyrics like “You knew it still hurts underneath my scars,” and “You knew the hero died so what’s the movie for?” reference others such as “You drew stars around my scars but now I’m bleeding,” (from “cardigan”) and “I think I’ve seen this film before,” (from “exile”), acknowledging their themes and concluding them in a stunning, yet sorrowful ballad.
Although Swift usually tends to end an album on an uplifting note, she went in another direction this time around, and it definitely worked for her. This is no doubt Taylor Swift’s best ending to an album yet.
Final thoughts:
Ever since the year 2012, I’ve always believed that nothing Taylor Swift would write could ever be a match for my formerly favourite album of her’s, “Red”. This new album has not only exceeded every last one of my expectations, but is also everything I’ve been waiting for Swift to write for all of these past eight years. This album is graceful, haunting, and absolutely remarkable. Although it is far from anything Taylor Swift has ever put out before, I would strongly advise anyone to give it a try. Trust me, you’ll never be the same.