Taylor Swift - Reputation Nov. 10

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Postby mellowgold » Mon Oct 16, 2017 8:10 pm

we can only hope
wimbledon, strawberries, bubbles, please protect me. happy midsumma, hope you spend it in your heart, everyone is there. bitch.
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Postby black mamba » Wed Oct 18, 2017 11:37 am

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As yet, Taylor Swift hasn’t done a single interview about Reputation, the new album that’s now only a month away. This weekend, she announced the first two live concerts behind the record, both of them at commercial radio holiday extravaganzas unlikely to carry much of a personal touch. Other than some short behind-the-scenes videos and AT&T promo spots, she’s hardly been seen in public. But there’s one place you might hope to get ahold of Taylor Swift directly: in the comment section of an Instagram livestream.

Fans have recently reported sightings of Swift’s official account joining livestreams and posting comments like, “Hiiiiiiiii” and “You’re the cutest!!!!!” BuzzFeed collected screenshots, and there’s more captured on message boards and fan Twitter accounts. (If you’re talking to Taylor Swift online, you can also expect to see your username published on BuzzFeed.) Swift apparently even voted in a fan poll asking whether Reputation would live up to its predecessors — she was a “yes.”
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Postby mellowgold » Wed Oct 18, 2017 11:38 am

nice
wimbledon, strawberries, bubbles, please protect me. happy midsumma, hope you spend it in your heart, everyone is there. bitch.
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Postby mellowgold » Thu Oct 19, 2017 11:34 am

wimbledon, strawberries, bubbles, please protect me. happy midsumma, hope you spend it in your heart, everyone is there. bitch.
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Postby mellowgold » Thu Oct 19, 2017 4:05 pm

New song “gorgeous” tn
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Postby scrambled » Fri Oct 20, 2017 12:15 am

a song with calvin harris as a subject sounds so so so so unappealing
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Postby scrambled » Fri Oct 20, 2017 12:17 am



:? :? :|
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Postby Marx & Engels » Fri Oct 20, 2017 12:18 am

I feel like this would be a really good song with 1989-era production (and uh lyrics)

Still the best single thus far tho
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Postby scrambled » Fri Oct 20, 2017 12:22 am

i see your point, Marx - the vibe kind of borrows from Clean, off 1989, but it's so shitty -feels like a non song
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Postby grammatron » Fri Oct 20, 2017 12:28 am

The lyrics on all three of these singles are really substandard.
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Postby Tom Cruise » Fri Oct 20, 2017 12:43 am

Ya the lyric videos really aren't a great idea
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Postby DAT TRILL FRIEND FRITZL » Fri Oct 20, 2017 12:50 am

yikes
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Postby mellowgold » Fri Oct 20, 2017 7:40 am

This is ok. Idk what she’s doing.
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Postby mellowgold » Fri Oct 20, 2017 7:40 am

lmao
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Postby ripersnifle » Fri Oct 20, 2017 7:46 am

Dark Room
Dark Room
steakspoon wrote:sorry if sounds corny fellas but i'll always remember where i was when i heard my first big star song..the internet
ripersnifle wrote:that aesthetic was tight
worrywort wrote:it's called the temple grandin
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Postby ripersnifle » Fri Oct 20, 2017 7:48 am

production kinda clashes with the ... songwriting(?)
feels kinda like a Red-era song, to me, that'd benefit from that era's production.
steakspoon wrote:sorry if sounds corny fellas but i'll always remember where i was when i heard my first big star song..the internet
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worrywort wrote:it's called the temple grandin
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Postby odilonredon » Fri Oct 20, 2017 8:09 am

the new persona sucks shit and i still loathe "look what you made me do", it casts a pall over this whole album cycle-but i kind of like this one
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Postby mellowgold » Fri Oct 20, 2017 8:11 am

This is like she tried to make a chvrches song? idk max martin is phoning it in tho

i hate the percussion on this
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Postby odilonredon » Fri Oct 20, 2017 8:14 am

Marx & Engels wrote:I feel like this would be a really good song with 1989-era production (and uh lyrics)

Still the best single thus far tho


yeah. this is not half bad but had potential to be great with different arrangement and production. you can really feel the old (better) taylor swift peaking out from underneath the morass of new (shitty) taylor swift on this one.
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Postby mead » Fri Oct 20, 2017 8:22 am

yeah. i like it but it feels out of step & reeks of the leftovers rack

the choruses with the lingering "goooorgasss" is a bit of a howler
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Postby separator » Fri Oct 20, 2017 8:27 am

lyrical tone doesn't match production at all
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Postby Vegetable » Fri Oct 20, 2017 9:02 am

ripersnifle wrote:Dark Room
Dark Room

Dark Room
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Postby Vegetable » Fri Oct 20, 2017 9:04 am

I kinda like it but yeah the percussion is bad. I wonder what percent conscious she is of all this though. The lyrics not matching the tone is one of the most interesting things about the song, intentional or not.
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Postby the scofflaw » Fri Oct 20, 2017 9:24 am

just feels like the sort of cut/paste jobs that are the result of not really having anything great coming together organically, like the early tracks indicate that this album seems more a product of "hey i need to put an album out and we've been fiddling with these tracks for months" and less of the "i'm inspired to push into this particular sonic direction" boldness that the 1989 roll-out showcased. the feud-driven concept thing seems a little thin to carry an entire album and might account for why the lyrics seem particularly forced.
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Postby mellowgold » Fri Oct 20, 2017 9:50 am

the stumble home to my cats line is sooooo bad
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Postby mead » Fri Oct 20, 2017 9:54 am

mellowgold wrote:the stumble home to my cats line is sooooo bad


"..................... alone"
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Postby mellowgold » Fri Oct 20, 2017 9:55 am

lol

also is this her idea of making Adult Music? saying "bitch" in the LWYMMD video and now singing about being drunk? i mean ok cool but...idk its so forced
wimbledon, strawberries, bubbles, please protect me. happy midsumma, hope you spend it in your heart, everyone is there. bitch.
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Postby grace cathedral park » Fri Oct 20, 2017 10:56 am

This song felt like it lasted forever
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Postby grammatron » Fri Oct 20, 2017 12:45 pm

Yeah this song is fine and would probably be elevated in the context of an album like Red or 1989. We'll see how it fits into this album. I really hate the feud concept and this whole persona, though. It just feels like a misfire in every way, and the much better way to make the point she's trying to make would've been to ignore her reputation completely and just put out a great record of sophisticated pop with quality lyrics and musical variety. Given the stylistic transition over her career, I'd much rather her (and think she'd ultimately be more successful long term) just keep creating what she's feeling musically, ignoring modern trends and just pushing in whichever direction her creativity leads her rather than falling into the adult/urban/more aggressive pop mode she seems to be falling into.
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Postby Ersaph » Fri Oct 20, 2017 12:48 pm

I like all of the songs so far
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