Second up in my catch up series of Taylor Swift album reviews is Evermore, the follow up surprise release to Folklore. Let’s see if this entry proves any more memorable, or if it’s just more of the same melodrama melancholy of the previous album.
“Willow”
Well, the first track is not an encouraging indication that good things are to come. It’s more of the same as the previous album, lackluster music combined with otherwise interesting lyrics that results in no emotional impact. Maybe it’s the use of all the electronic instrument replacements but it ends up feeling very robotic.
“Champagne Problems”
There’s a hint of “New Year’s Day” in the soft piano chords of this song, which unfortunately draws it into an unflattering comparison. Where “New Year’s Day” finds beauty in the mundane normalities of the everyday that most people can generally relate to, “Champagne Problems” paints a picture that is almost entirely the opposite. It’s even in the title, and downbeat line of the chorus, these are champagne problems, not ordinary, everyday ones. Perhaps because of that the narrator of the song seems very much removed and disinterested, leaving the overall impact wanting in any emotional connection for the listener.
“Gold Rush”
Oh my gosh, she actually has a song featuring a beat! Oh, and it has a musical shift on the verse changes, how exciting! It’s that much more surprising considering this is the first Jack Antonoff collaboration on the album. Usually I’m not a fan of his contributions to her music but this one turns out okay. It’s no “Lover” or “State of Grace” for sure but it is a pretty song that carries some emotional impact and has a slightly memorable chorus.
“‘Tis the Damn Season”
I guess it seems fitting that for her lugubrious era Swift felt it necessary to include a holiday track that matches the despondent nature of her other songs. I will admit that the story telling in this one is interesting but it still lacks the impassioned vibe of her first seven albums. It fits in with the rest of the album but won’t be very far remembered.
“Tolerate It”
This song is almost painful to listen to. It is so slow and boring. Half of the song Swift is just speaking the lyrics over the music, which is just the same repeated piano refrain looped over and over. While some of the other tracks have lacked an emotional punch this one goes even further and drains any emotion the listener may have had before listening to it.
“No Body, No Crime” (featuring Haim)
This is the “The Last Great American Dynasty” of this album. It’s a story song with a good hook, rhythm and clever lyrical word play. Thank goodness for Haim, bringing some actual musical weight to this album. I’m giving them credit here as they are the only differentiating factor from the other tracks on the album, so I have to assume they are the reason this song succeeds.
“Happiness”
This track starts slipping back into the trap of the earlier ones with flat music but jumps slightly ahead with Swift’s inflection on the title word of the song. There’s a little desperation that seeps in, bringing with it more emotional impact. While still not to the level of some of her other comparable previous work (“Treacherous”, “Last Kiss” ), it hit more than other tracks on this album.
“Dorothea”
Evermore’s answer to “Betty” is sadly not as successful, though it still has some charm to appreciate. Swift’s strongest songs in this Folklore/Evermore era end up being the ones where she leans heavily into her Country storytelling roots. More interest is driven in the song when there are characters to latch onto, even when the music may be lacking.
“Coney Island” (featuring the National)
It seems like many of the songs on Evermore are just duplicate attempts at Folklore’s tracks. Some are more successful this time around, others are less so. Then there are the songs like this, which feels like this album’s “Exile” that are just as forgettable. It’s another duet/collaboration that just sits there without drawing any real feeling. It’s not terrible but it’s not great.
“Ivy”
We’re solidly into a monotone groove at this point in the album. There’s nothing inherently worse in this song than the previous three tracks. It just carries on with the one level musical vibe. The lyrics are pretty, and Swift’s voice has a light sing-song quality to it but it’s not very impactful without the musical drive to back it.
“Cowboy like Me”
I think I like the title more than the song itself. There is a nice twangy refrain midway through that’s quite pleasing. Otherwise it is the same issue repeated from the rest of the album, semi-interesting lyrics that disappear under mediocre music.
“Long Story Short”
This is a tricky track. You think there’s going to be some actual rhythm to the music because it’s slightly more upbeat electronica but it ends up being the same repetitive beat. Plus, half the lyrics are just sounds so it doesn’t even have that going for it.
“Marjorie”
The sentiment behind this track is quite beautiful. A tribute to Swift’s grandmother, who was an opera singer and inspired Swift’s own musical career that samples Majorie Finlay (Swift’s grandmother) in its backing vocals. It is a bit odd though to have a tribute to an opera singer that is so understated in its vocal strains. I suppose the attempt was to highlight the sampling in the music but I think the effect is not quite as successful as it wants to be.
“Closure”
Despite beginning with some gorgeous lyrics, including this diamond of a line “Seeing the shape of your name/still spells out pain,” the song falls back into the same old traps of earlier tracks. It repeats the title word in the chorus as though that’s impact enough but it isn’t. The music is slightly more upbeat but once again there is no change in inflection so it just sits at the same level throughout, never moving itself or the listener forward.
“Evermore” (featuring Bon Iver)
Once again the ending track seems fitting for the low energy album that precedes it. At least the piano in this isn’t electronic. Considering the languid vibe on their Folklore track, it is a bit surprising that Bon Iver brings the most energy in a sudden burst halfway through this song. However, even that doesn’t save it from being fairly forgettable in the end.
Bonus Tracks:
“Right Where You Left Me”
Is it really a Taylor Swift album if there are no bonus tracks? This one could have easily replaced any number of the official tracks. While not jumping with energy it is a lot more upbeat and engaging than at least half the songs that did make the cut. It is also very classic Swift, replaying a breakup over and over trying to make sense of it. It perfectly encapsulates that lost, empty feeling someone would get when the news is delivered that their significant other is no longer interested in continuing the relationship. This could have been a good opener.
“It’s Time to Go”
Unlike the previous bonus song, this one is perfectly fine to remain off the official tracklist. It does fit the same theme and tone of the other songs in being fairly forgettable. There is some interesting lyric structure but it all blends together with the bland music and Swift’s monotone delivery. So actually, it is quite a nice summary of the issues with Evermore as an album. Evermore is dreary mundaneness with an occasional glimpse of sunlight in a slightly stronger track or clever lyric but doesn’t contain anything truly lasting.
Hollywood Consumer 