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Leading up to the 66th Grammys, fans theorized Taylor Swift would announce “Reputation (Taylor’s Version)” during the awards. But Swift had different plans when she won, instead announcing her 11th studio album, “The Tortured Poets Department” during her acceptance speech.

The album was released on April 19 – but her trickery wasn’t over. Fans were still hoping she would do a double release with her version of “Reputation.” Instead, she dropped 15 other songs at 2 a.m. as “The Tortured Poets Department: The Anthology.”

The album features two distinctive sounds in Jack Antonoff’s synth pop and Aaron Dessner’s acoustic melancholic songs. Just by listening to the opening of a song, it’s obvious which one of Swift’s producers worked on it.

Antonoff’s sounds ruin the album, and what makes songs that would be good otherwise get lost in translation. The tired sound that Antonoff uses on nearly every song just isn’t as interesting as it first was, especially after its presence on her “Midnights” album and the “1989 (Taylor’s Version)” vault tracks.

The repetitive sound leads listeners to thank Dessner for using a piano or guitar in his songs. A delicate piano sound introduces “loml,” a song focused on the theme of heartbreak heard throughout the album.

“loml” and other songs reference Swift’s break-up after six years with former boyfriend, actor Joe Alwyn. She wrote on Instagram that the album captures a moment of time but, by writing these songs, she can let it all go.

“So Long, London” explores her deep-cut wounds from her relationship with Alwyn.The song marks Swift’s shift from adoring references to Alwyn on her album “Lover” in songs like “London Boy.” “So Long, London,” is the fifth track on the album, and for Swifties, songs hold a deeper meaning. They are usually the most heartbreaking songs on the album, like “All Too Well” on “Red” and “Dear John” on “Speak Now.”

“You swore that you loved me, but where were the clues?/I died on the altar waitin’ for the proof/ You sacrificed us to the gods of your bluest days/ And I’m just getting color back into my face,” she sings about the London heartbreak.

Swift says Alwyn’s love was unclear and she was left yearning for it, awaiting a marriage proposal that never came. The “color returning to her face” proves how taxing the relationship, and Alwyn’s mental health, were on her.

Swift also explores her fame throughout the album, singing about persevering through her heartbreak and performing on The Eras Tour. The sentiments fall short, as the sounds of Antonoff’s synth become irritating. She tells herself to “fake it until you make it” while telling fans she’s “so depressed.”

Yes, it’s impressive that Swift had such a successful tour, all while releasing several albums. However, her immense wealth and stardom remove her from normal life, which makes lyrics about her struggles leave a bad taste in listeners’ mouths.

Some of the album is simply weird and off-putting – especially certain songs with some offensive lyrics. Lyrics on “I Hate It Here” have received backlash as Swift sings about her choice of the decade she’d prefer to live in. The decade Swift reminisces about was before the end of slavery, nearly 200 years ago.

“I’d say the 1830s but without all the racists, And getting married off for the highest bid,” she sings.

People flocked to social media to critique the artist’s word choice. One TikTok is getting repeatedly stitched after someone attempted to justify the lyrics. The stitches highlight that Swift was rumored to date Matty Healy, who has made racist comments in the past. Her lyrics highlight her hypocrisy, not her anti-racism.

Lyrics like these leave listeners asking why.

It does not stop there. Swift references the video game Grand Theft Auto, crying at the gym and calls out several other celebrities like Charlie Puth on the title track and Kim Kardashian on “thanK you aIMee.” These choices are in poor taste and immature.

“The Anthology” is where Swift shines. The closest she comes to “folklore” or “evermore” on the album is with songs like “The Black Dog,” one of Antonoff’s only satisfying works on the project, and “The Albatross.”

“The Albatross” references the 1834 poem “The Rime of the Ancient Mariner” by Samuel Taylor Coleridge, about a sailor who kills other people. The song serves as a warning of Swift and a continuation of references to the 1830s, a period known for its popular literature like “Moby Dick.”

“Devils that you know/Raise worse hell than a stranger/She’s the death you chose/You’re in terrible danger,” Swift sings.

While lyrics like these are the highlights of the album, the cons of “Tortured Poets” make it a letdown overall. Swift attempts to recreate the beautiful lyricism of “folklore” and “evermore,” but ultimately fails. She is stuck between her success in the last decade and her new presence. She attempts to be relatable, but that’s something Swift will never be because she – quite literally – feels untouchable.

Swift gets caught up in both Antonoff’s and Dessner’s sounds, making the album sound chaotic from song to song. Dessner’s production is the saving grace of this album, while Antonoff’s synth and Swift’s many lackluster lyrics lead it to its downfall.

CORRECTION: A previous version of this article stated that Jack Antonoff produced “So Long London.” Aaron Dessner produced this song. The Daily Orange regrets this error.

Published on April 23, 2024 at 10:46 pm

Contact Rosina: rlboehm@syr.edu