Taylor Swift – ‘Folklore’ review: pop superstar undergoes an extraordinary indie-folk makeover This rich isolation album boasts collaborations … Taylor Swift Folklore review: New album reveals social distancing has made her a more mature songwriter. With concerts off the table for the foreseeable future, no longer needing to reach four sides of a stadium may have proven liberating.Elements of her fanbase have long wanted her to revisit the Nashville songcraft of her youth through an adult lens, but this isn’t that album. Three of the highlights — “Cardigan,” “August,” and “Betty” — depict the same love triangle, from all three different perspectives. The often unpopular lead single seldom sounds like the rest of the album. She does the opposite here — she refuses to repeat her most reliable tricks. Here’s a Swift progress report on her quarantine: “I’ve been having a hard time adjusting/I had the shiniest wheels, now they’re rusting/I didn’t know if you’d care if I came back/I have a lot of regrets about that.” The power of her mind.It’s amusing, in retrospect, how people actually worried that being happy in love might mean Swift would run out of things to write songs about. Set to high piano flurries, Seven switches between hopscotch-rhyme verses about childhood rituals, and pleading, choral depictions of herself at seven, “in the weeds, before I learned civility,” she sings. She just made some coffee, sat at the piano, and let her mind wander into some dark places. Folklore is Taylor Swift’s most coherent record since her country days, also it’s her most experimental, developing on Lover’s stranger, more minimalist end. She’s never sounded this relaxed or confident, never sounded this blasé about winning anyone over. So many of the world’s favorite Swift-ian trademarks are missing. It usually starts with her sharing coded hints that her well trained fans understand immediately. “I used to scream ferociously / Any time I wanted.” What conditioning beat out of her as a girl, it beat back in decades later: the tense, slippery Mad Woman traces the self-perpetuating cycle of women being angered by being labelled angry – both massively improve on Lover’s slightly facile gender inequality treatise, The Man, because they’re personal, not projections.

Yet she tentatively asserts what’s at her core: the deep dedication she sings about on the resonant, minimalist Peace, and the abiding romanticism of Invisible String.Lockdown has been a fruitful time for this sort of soul-searching, the absence of much in the way of new memory-formation triggering nostalgic reveries and regrets. Despite the last 12 months bringing a new, high-profile disagreement with her former label and enduring disputes with Folklore proves that she can thrive away from the noise: if you interpret “classmates” as pop peers, Swift is no longer competing. No country moves, no synth pop, no first dates, no “Taylor visits a city” song, not even a laugh. “Mirrorball” is about the same nervous dance-floor poseur of “New Romantics,” six years later, except tonight she feels like the disco ball that reflects everyone’s most desperate insecurities. Folklore will endure long beyond it: as fragmented as Swift is across her eighth album – and much as you hope it doesn’t mark the end of her pop ambitions – her emotional acuity has never been more assured. Trailers of the Week: 'The Devil All the Time,' 'Simulation Theory,’ 'Robin's Wish,' and More So here we are again.

)“Betty” is a first — she sings in the voice of the 17-year-old boy in a Taylor Swift song, reckoning with the fickle behavior detailed by the girls in “Cardigan” and “August.” It takes off from the harmonica solo in Bruce Springsteen’s “Thunder Road” — which feels appropriate for the only tale on the album where she goes back to high school. No pop songs at all. “August,” the album’s most plainly beautiful ballad, is a summer romance gone wrong: “I can see us tangled in bedsheets/August slipped away like a bottle of wine/Because you were never mine.” “This Is Me Trying” is the disturbingly witty tale of someone pouring her heart out, to keep herself from pouring more whiskey.

We want to hear from you! Swift’s most coherent record since her staunchly country days, it’s nonetheless her most experimental, developing on Lover’s stranger, more minimalist end. Remember when she was threatening to spend this year rerecording all her old albums? The seismic shocks of her Reputation-era rude awakening about her public image are still felt: “I can change everything about me to fit in,” she sings on Mirrorball, a gorgeous pedal steel wooze made with Jack Antonoff. This strange summer of arrested development is steadily ending. takes a completely different approach, yet feels even more intimate, simply because it’s the sound of an artist with absolutely nothing to prove. Send us a tip using our anonymous form. Then there are teasers for lyric videos that beget actual blockbuster videos, strewn with self-mythologising references for Swifties and journalists to unpick. Taylor Swift’s ‘Folklore’: Album Review It’s hard to remember any contemporary pop superstar that has indulged in a more serious, or successful, act of sonic palate cleansing than Swift … But the demands of pop processing mean her voice has never been heard as it is here: the acceptance that colours it on The 1, a bouncy reminiscence of a lost lover from her “roaring twenties”; how weatherworn yet at peace she sounds as she remembers the good parts of a treacherous relationship on Cardigan, a song as cavernous and shimmering as a rock pool in a cave. (“Last Kiss” is usually a summer favorite, but this year, “Hope it’s nice where you are” feels a little too close to the bone.)

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