Taylor Swift's 'Lover' is also not a full return to the major-key, technicolor pop of '1989'; whereas that Grammy-winning 2014 album represented a forceful and confident change in sound, Swift’s latest is her most ambitious project in terms of scope, pulling in disparate styles and ideas while decisively weaving them into a contained whole.
“I want to be defined by the things that I love -- not the things I hate, not the things I’m afraid of, the things that haunt me in the middle of the night. I just think that... you are what you love.”Lover
, but they may as well be the opening salvo for her latest era. After embracing snake iconography and shades of gray on 2017’s -- a project that reacted to various controversies and feuds, and refracted their combined negative energy through an exploration of complex adult emotions -- Swift has promptly pivoted back to focusing on her passions, ending the shortest break between albums of her career with her longest track list to date.
As a pop record of varying tempo, the pieces don’t always fit seamlessly, but Swift’s steadiness as a writer is enough connective tissue to prevent any jarring transitions or notable swoons across the track list. doing what she wants, when she wants, dialing up the intensity in places and offering some of the most straightforward song structures of her career in others.
“Miss Americana & the Heartbreak Prince” is as bombastic as its title suggests, with cheerleader shouts punctuating Swift’s helpless account of “American stories, burning before me.” Later, in the waning moments of the album, Swift is aided by the young voices of the Regent Park School of Music on “It’s Nice to Have a Friend,” a lullaby that’s all clipped lyrics, steel drums and simple tenderness.
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