Taylor Swift - The Tortured Poets Department (out April 19th)

Iguana said:
Oh hang on, it doesn't have So Long, London?

I take it BACK!
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I like that one too but in the emosh ballad stakes I thought loml and the smallest man hit a lot harder. however I'm still adding to it! just want to give everything a chance to grow
 
I do enjoy the narrative behind this album: I broke up with my boring, depressing boyfriend of six years, but I was obsessed with a bisexual artist who won't answer my texts the entire time anyway, but he's ghosting me so I'm fucking a footballer in revenge instead and I'm definitely not still hoping he'll text me back.

I don't enjoy the album itself, but I can see how the fans get carried away with this ONE WOMAN SOAP OPERA.
 
Is the second album much different to the first? I've just played the album again on the plane.

I really like Fortnight, I'll give it that, and a couple of others have begun to reveal slowly, but the tail end just all sounded the same and BORING.
 
the more I listen to Fortnight the more... I don't really get it being the single? the only exciting part of the song is Post's solo and that's 30 seconds before the end.

she can afford to take more risks with her singles, anything will be a hit.
 
It's track 1 for a reason - that reason being that, as you can see from the first day's streams, people always start at the beginning of an album and then things tail off. So anyone starting the album contributes to the single's chart position, even if they get bored 3 or 4 songs in.
 
It doesn't have to, no. But it makes sense if you're 'dropping' an album to make the single track 1 because that was it attracts all the curiosity streams. I mean, it's Taylor Swift, she could have released a single that wasn't even on the thing and it would still have been massively streamed/viewed but in other cases, it's a more visible tactic.
 
octophone said:
It doesn't have to, no. But it makes sense if you're 'dropping' an album to make the single track 1 because that was it attracts all the curiosity streams. I mean, it's Taylor Swift, she could have released a single that wasn't even on the thing and it would still have been massively streamed/viewed but in other cases, it's a more visible tactic.
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No, but I meant that @Jark is saying that Fortnight is a strange choice for a single. I see why the lead single is track #1, I totally get that, but it didn't have to be Fortnight leading off the album. It wouldn't have thematically mattered.

Does that make any sense? :D
 
Sheena said:
No, but I meant that @Jark is saying that Fortnight is a strange choice for a single. I see why the lead single is track #1, I totally get that, but it didn't have to be Fortnight leading off the album. It wouldn't have thematically mattered.

Does that make any sense? :D
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Ahhh! NOW I see! :D Sorry, a senior moment...
 
I listened to Chloe or Sam or Sophia or Markus on a loop last night too. It’s devastating. Her slight twang on it, the lyrics, longing delivery, and that final chorus and backing vocals are gorgeous. She just gets better and better, although this would’ve probably worked better as a condensed album.
 
Don't get the love for Guilty As Sin - literally the first song I'd drop from the album 'proper' if we were cutting it to one LP.
 
Don't know whether to put this here or the interesting graphs thread but...

1000056967.jpg



POTTY MOUTH.
 
@taylorswift13 now owns the 5 biggest single day streams by an album on Spotify:

#1 TTPD 314.5M
#2 Midnights 185.6M
#3 TTPD (2nd day) 183.3M
#4 1989 (TV) 176.2M
#5 TTPD (4th day) 155.1M
 
the 4th day streams being bigger than the 3rd is kind of insane.

Down Bad and I Can Do It With a Broken Heart (both climbing to 2 and 3 on global today) emerging as the GP faves currently...

also still top 10:

05. So Long, London
07. The Tarty Lingerie Dept
08. My Boy Only Breaks His Favourite Toys
10. But Daddy I Love Him
 
Jark said:
the 4th day streams being bigger than the 3rd is kind of insane.

Down Bad and I Can Do It With a Broken Heart (both climbing to 2 and 3 on global today) emerging as the GP faves currently...

also still top 10:

05. So Long, London
07. The Tarty Lingerie Dept
08. My Boy Only Breaks His Favourite Toys
10. But Daddy I Love Him
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Is that a day thing, though? Sunday presumably doesn’t have accidental streams in shops and the suchlike, right?
 
no usually Sunday has much higher streams than Monday in general. songs always hit lows on Monday Tuesday and then spend the week climbing again.
 
Jark said:
no usually Sunday has much higher streams than Monday in general. songs always hit lows on Monday Tuesday and then spend the week climbing again.
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I thought that was more for dancey and weekend songs, no?

But I don’t really know to be fair…
 
Really worried she'll make a habit of this. By 2034 she'll have more than 100 songs per album
 
"Hey everyone, I know the album's only been out for an hour and it has 38 songs and it's 3 hours long but since I now have Jack and Aaron locked in a basement on a private island just outside territorial waters, we have so many more songs for you. Guess what? "Thundercunt" is a BOX SET! Here's the other 174 songs - "Thundercunt - The Psychological Torture Edition".
 
There was a REASON Warner kept PRINCE from releasing too much stuff in the 80s!
 
Well, yes but he'd have been right at home in 2024 - his Bandcamp page would have been WILD. The 'data dump' release would have been right up his (alphabet) street.
 
didn't Prince release a minimum of an album a year for like 10-15 years at one point? I wouldn't say the technology of the day held him back
 
Jark said:
didn't Prince release a minimum of an album a year for like 10-15 years at one point? I wouldn't say the technology of the day held him back
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Prince was ridiculously prolific and churned out albums and albums of work in the 80s, in particular. Warner limited him (mostly) to a standard 10-12 track album each time. The recent remasters have only scratched the surface, with at least 2 more albums' worth of material for each released album appearing and comments that there is still LOADS more in the vaults.

It was less about technology, but more about the record company not wanting over saturation of Prince- related product. It was part of his falling out with Warner as he wanted to release more. It was also why they allowed his side projects with other acts during the 80s, as it gave him the opportunity to spread his wings a bit without it being his name all over the product (note that he often used pseudonyms as well for his writing/ production work).
 
The industry standard of the time was very restrictive for Prince. Arguably, he'd have had less conflict with the label in the CD era as he could have had a longer programme, for better or worse. But he would still have had separate projects he wanted out as standalones, I guess.
 
I know much has been said about the length and overt samey-ness of this album but I do appreciate how she is able to find different shades and bring out different emotions within broadly the same soundscape. I Look in People's Windows is such an interesting little diversion on this record. the banjo (?), the strange subject matter, delicate vocals, the folklore of it all...

then you have big airy choruses on the likes of Guilty as Sin? and So High School that throw back to Red while also giving a little late '90s singer-songwriter/alt-rock vibes.

I'm finding new songs to appreciate and new moments that feel cathartic with every play. it's really quite a good record. in our era of instant gratification everybody wants to be able to listen twice and give a verdict, whereas this album requires time and energy. but it's worth it.
 
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