Welcome back to the segment where we dive deep into the sonic realms that keep our playlists in a constant state of flux. This time, Reviews Editor Cherlynn Low takes us on a melodious journey through the latest from Taylor Swift and Ariana Grande, peeling back the layers to discover what happens when music becomes as intimate and reflective as diary entries.
Cherlynn Low, Deputy Editor, Reviews
Mark your calendars, folks. April 19 almost demanded global recognition, all thanks to the arrival of Taylor Swift’s much-anticipated album, The Tortured Poets Department (TTPD). Can you believe the audacity to drop this treasure trove on a Friday, leaving us no choice but to spiral into a frenzy of lyrical dissection and emo struts?
Taylor Swift’s The Tortured Poets Department: A Sonic Exploration
Confession time: There’s a part of me that cringes at how quickly I’m drawn to hit play on TTPD and Ariana Grande’s Eternal Sunshine (ES). After all, both artists have recently navigated the turbulent waters of public breakups and new love, fueling endless speculations and Reddit theories. There’s something about getting the scoop straight from the source that beats rummaging through tabloids for second-hand tidbits, wouldn’t you agree?
These albums felt like golden tickets to the inner workings of their recent life events. Of course, taking their words with a grain (or a heap) of salt is always a good strategy, much like how therapists remind us to view personal narratives through a lens of skepticism.
The music of Grande and Swift has long mirrored their personal lives, often wrapped in layers of defensiveness. Tracks like “Look What You Made Me Do” or “Yes, and?” might as well be anthems for shifting blame or shrugging off consequences. Yet, songs like Swift’s “Anti-Hero” or Grande’s “Thank U, Next” hint at ownership, only to skirt around genuine accountability.
It seems like dissecting an artist’s personal saga through their music has become the norm. The attention to lyric detail and thematic analysis is at an all-time high, probably more than ever before. And with both divas dropping their latest works within months of each other, the buzz is deafening.
Last month saw the release of Grande’s ES, scrutinized from every angle after her split from Dalton Gomez and rumored romance with Wicked co-star Ethan Slater. Initially, ES left me feeling underwhelmed, criticizing its lack of responsibility. Yet, it wasn’t long before I found myself humming along to a few catchy tunes, a sentiment echoed across Engadget’s editorial room.
Ariana Grande’s Eternal Sunshine: A Musical Contradiction
Grande’s actions aside, there’s just something addictively melodic about her music. It seems my appreciation leans more towards the sound than the lyrical depth.
Swift, on the other hand, crafts her music as if penning poetry, despite the cheeky rhymes like “department” with “apartment.” It’s the emphasis on words that often casts a shadow over the melody, suggesting a prioritization of lyrical depth that beckons a closer listen.
Swift’s tunes have always felt like public journal entries, brimming with personal anecdotes, Easter eggs, and veiled messages to past lovers. Her music once resonated deeply with teens globally, but success seems to have distanced her from the average Joe, turning her songs into windows peering into a world most can only fantasize about. Yet, she manages to keep us hooked with meticulously planned appearances and the strategic release of personal details.
Grande, seemingly less inclined to parade her love life at public events or pack her songs with hidden references, contrasts sharply with Swift’s approach to publicity and narrative control.
The strategies surrounding TTPD have sparked debates, suggesting Swift’s eye might now be on her brand and bottom line more than the artistry of her music. The surprise release of an additional 15 tracks only adds to this narrative, hinting at a marketing genius at work rather than a solely artistic endeavor.
Grande is no stranger to this game either, with multiple versions of “Yes, and?” hitting the shelves in what seemed like a strategic move to climb the streaming charts. ES also comes in various cover arts, tempting fans to open their wallets a little wider.
So, where does that leave us? Am I vested in these albums? Not particularly. Did I dive into them, eager for insights into their tumultuous relationships? You bet. Despite Swift’s poetic aspirations and the intimate peek into her fling with Matty Healy from The 1975, her album didn’t quite resonate with me musically. My Swiftian favorites have always been the ethereal blends of synth and instrumental magic.
Perhaps this journey has taught me that my allegiance lies more with the music than with the words. Or maybe, just maybe, the best tracks are those that don’t rely heavily on hype, gossip, or marketing tricks but stand strong on their own musical and lyrical merits. Art, in any form, should perhaps transcend the personal lives of its creators, allowing us to enjoy music, literature, and film without being overly concerned with the behind-the-scenes. But as we step into 2024 and beyond, separating art from the artist seems ever more challenging.
