Nanananananananana na-na-na, Taylor Swift, Tayor, Taylor Swift! Nanananananananana na-na-na, Taylor Swift, Tayor, Taylor Swift!
Fuck, man, It’s Taylor, you bunch of fucking cunts! Somehow, amongst all the brouhaha, amongst all the controversies and talking points, amongst all the will shes and the won’t she’s and the have shes and the would shes, Taylor fucking Swift has now snuck five consecutive albums onto the Necessary Evil list. For a bit of context, Young Fathers – one of my absolute favourite modern acts – have had three. Radiohead have had two. Her talents are seriously beyond serious debate now, aren’t they?
Listen, I’ve already written all I’ll ever need to say about Ms Swift. We all have. It’s finished. There’s nothing more to say. She is absolutely one of the greatest living American songwriters, and the quality and consistency of her recent output is just amazing. Is she American? She feels like one of those Americans who’s actually Canadian, y’know?
Here she goes again, with the best record of her career so far. An astonishingly affective and (sigh) authentic indie folk record, that smartly utilises the talents of a handful of collaborators, but Swift’s expertise always shines brightest. Just go with it. I’m not even going to make a ‘Taylor’s Version’ joke. This is the post.