#If it was me and marina is so easy sometimes we have breakdown fights but we make up so easily i wish all relationships could be like twins

[celibibratty]

I...i don't know what to do, if mom wanted to hear something, Sorry, i don't know what to say, i don't know what path is wrong or right, I really don't know💧........now we have a depressed mom, she seem so lost....but she hurt us too,.....she needed to know that the way she treated and treat us affect us, poor marina, I hope because of the mini fight with Marina mom doesn't change her mind on finding a therapist just because we were the ones who suggested, sorry mom, even us/me being the wise person, the ones you open up to and seek for answer, for more loving and supporting we are and helps you sometimes, we are.....not the best help, cuz we are your daughters, we have traumas/beefs with you, sometimes what you say(even if it's not what you meant) will offend us, will hurt us, and same vice versa, sometimes we will hurt you, sometimes we will make you feel worse....you broken, but we are also too,.....and you need to understand that, you need to find someone else

[mooosicaldreamz]

please do a song by song review of lover i beg u

oh......u didn’t have to beg!!!! i’ll give it to you 4 FREE.

I FORGOT THAT YOU EXISTED: what i enjoy about this song is that it is fun and not especially mean, just like, shrug emoji. i think sometimes when ur in a relationship that is not especially amazing and you reach the point where you forget that you dated someone is the funniest thing and its such a strange moment. it’s a good tonesetter for the album, bc its so fun and chill and like, whatever. it has the same energy that i think we are never getting back together wanted to have. i LOVE the “i just forget what they were” breakdown. what a fun, bouncy song. easy listening to start the album. calvin harris rip.

CRUEL SUMMER: i love jack antanoff vERY much and have liked his work with fun. and as bleachers, and i think his production on lorde and taylor’s albums has been so wonderful. this song just reeks of him and it’s so like, ascendent, how it builds up and up into the chorus. i think it’s interesting that she reaches so high on the chorus. “summer’s a knife/i’m always waiting for you to cut to the bone/devils roll the dice/angels roll their eyes.” the breakdown is once again wonderful abt crying in the back of the cab on the way back from the bar - i feel like this album and its concept brings a much more natural version of taylor that i think has largely (and perhaps rightfully, considering the evolution of her fame and craft) been in hiding since probably red but maybe even since speak now. “I LOVE YOU AIN’T THAT THE WORST THING YOU EVER HEARD // HE LOOKS SO PRETTY LIKE A DEVIL” while she’s screaming it is more exuberant than ANYTHING on 1989 or rep (and i love both of those albums). 

LOVER: i love how sleepy soft this song is, i love how simple it is, and it’s made me cry like, six times. the wedding band sound is just, so fun and beautiful. it really makes me feel like i’m drunk, happy, and dancing really slow on an emptying dancefloor. i’m going to assume that was the vibe. it’s so soft. god it feels like a cloud. i enjoy how simple the lyrics are in this song, and how the words get to breathe and simmer. they take on a lot of meaning bc of how much space they’re given by the echo and by pacing. it’s so nice. i’ve gone back and forth on whether i like the wedding vows thing, but i think it might be nice. i love “swear to be overdramatic AND TRUE! to my lover”

THE MAN: the bumpy sound of the bass beat is really fun, and i think the song is a good bop, but it doesn’t say anything i don’t already know - but i think taylor bringing up the back end on the Woke train, trying to reach all those people who still aren’t totally sure about the gays or feminism but also think trump is terrible and are now reconsidering their life choices is a fine enough goal for her social justice initiatives. also i just realized she says “getting bitches and models” which she already does, you don’t have to pretend taylor

THE ARCHER: this song is sonic perfection the rolling synths the dreamy voice, the awful awful breakdown at the end of “they see right thru me / can you see right thru me / i see right thru me” “help me hold onto you” i just ... can’t handle this song. it’s perfect. i like the implication throughout this album that taylor is in Love, the big real kind, and i support her and joe bc i think it’s obvious their relationship has totally like, taken her to a new and good emotional space. anyway i like the implication that taylor fell in real, big Love and realized that love is still a fucking mess, like it doesn’t solve all the problems. “ALL OF MY HEROES DIE ALL ALONE” i mean come on. i hate her

I THINK HE KNOWS: this song is a bop “i think he knows his hands around a cold glass make me wanna know that body like it’s mine” is a stn move. the rumbly noise in the chorus and the synthy breakdown is a beast, it owns itself. there’s a real comfortable self-confidence that i, once again, maintain has been missing from taylor’s music up until now. also that moaning noise distracts me every time. “hand on my thigh/we can follow the sparks/i’ll drive” tAYLOR! inappropriate. i’ve seen some takes on this song that it’s not a fave, but it’s a fun song and people are wrong. there’s not one song on this album that i’m like this is bad in the way that i DO NOT like some songs on rep

MISS AMERICANA AND THE HEARTBREAK PRINCE: the first thing i thought when i heard this song is that it sounds like lana del rey. give it a re-listen, it does. sounds just like idk, “high by the beach” but it also rings a bell for me of electra heart era marina and the diamonds (like “teen idle”). i like this song a lot, even though it’s relatively oblique in my opinion on what it’s.....actually about. “you play stupid games / you win stupid prizes” is a great lyric in masterful taylor swift fashion bc it looks stupid when u write it on paper. i like the shouting breakdown thing that happens on the back end of the song with go/fight/win (OH I JUST GOT that, it’s like cheerleaders shouting). i’m a fan of it, but it’s an oddball on the tracklist.

PAPER RINGS: this song rings with a lot of red’s chaotic energies but with the adult sensibilities that she’s rolling with on this album. i love the sort of down-home shouty stuff happening on the verses, and the “kiss me once / kiss me twice / three times” bridge. it’s a good one. “i hate accidents/except when we went from friends to this” is a fun and good lyric. i LOVE the key change i LOVE the “wrap your arms around me baby boy” for some reason very much. 

CORNELIA STREET: i mean obviously this song is wonderful. i’ve seen much Discourse about this song being related to Kaylor which seems plausible. it’s clear that taylor wrote some of these songs in the present tense when they’re in the past, which i think is really interesting. i LOVE “jacket ‘round my shoulder is yours” what a good inversion of the phrase. i love the way that the phrase cornelia street breaks up the lines in a really weird way, because of how its syllables run. it’s a good song. it’s a soft boi

DEATH BY A THOUSAND CUTS: early frontrunner for my fave song!!!!! love the opening repeating noise, and the simple guitar plucks initially. taylor’s voice takes up front and center bc it isn’t especially altered/layered/echoed like it is in some other spots on the album. it has an amazing rolling pace on its verses that’s followed by the slower pace on the chorus. “i ask the traffic lights if it’ll be okay and they say i don’t know” i am certain that this song is about karlie kloss and i will not accept any other possibilities i know she said it was about a movie but i don’t care. “my hips my heart my body my love / tryna find a part of me you didn’t touch” wow taylor god what a gifted lyricist i hate her

LONDON BOY: this song is fun. “i saw the dimples first / then i heard the accent” i love the rising effect on “walking on the afternoon” resetting with the horns. it’s just a song that makes you bob your head. she does sound like she’s throwing out as many english references as she possibly can which is amusing and i don’t know what the legs are on this song bc of that - it could come across as somewhat kitschy. but! also i’d like to start some discourse bc i think it’s CLEAR that taylor isn’t afraid of using pronouns or even very direct references to who she’s with (this song is basically an I LOVE JOE ALWYN shirt), and it makes it even more clear when she’s avoiding using pronouns or direct description. the two songs before this don’t do that in the same way that this song does. 1989 barely uses pronouns at all. i’m just saying. taylor is bi is what i’m saying.

SOON YOU’LL GET BETTER: obviously this song is sad and it makes me cry i have no further commentary except that it’s a wonderful, simple song that has an excessively odd placement on this album following after london boy

FALSE GOD: this song is sexy! and interesting. the horns come back again, which is good and her voice is lower. honestly the line “the altar is my hips” is just..........a lot for me to compute. “i’m golden when you touch me / hell is when i fight with you” the bridges are really fun, sexy, soft. this song is like when lover ends and a song with a little more of a sultry feel comes on but ur still drunk so its a little sloppy.

YOU NEED TO CALM DOWN: obviously this song ruined my life. it sent me to the heights of elation and then i sort of had a hangover on it but i’m back around on it guys! it’s a fun, fun, summery song. that chorus with the oh-oh is just .... pop perfection. the bumpy synth noise that goes ba-duh-duh-duh like it’s reverberating is absolutely perfect for the pacing of the song. it’s excessively well-crafted to the point of slickness. it should have been the lead single but what do i know about anything

AFTERGLOW: i know that i wasn’t supposed to be into i pinned your hands behind your back but i was so. this is a continuation of the theme of like, i’m in love but i’m still a mess!!! sorry :) i like this song but it does not inspire me. 

ME!: i don’t know why the exclamation point is there and it sounds much more like a brendon urie song than a taylor song, but it’s fun! i don’t hate it! i can see why it was picked as a lead single - to really illustrate the tonal change from rep to here, but still. spelling is fun, tho.

IT’S NICE TO HAVE A FRIEND: this song is simple and so, so so sweet. i love the childhood friends to lovers narrative, and i just. like it. so much. it’s so sweet. and then obviously the horns come back for this one, but don’t overwhelm. this song is a good palette cleanser after the bombast of me!

DAYLIGHT: i tweeted about this but this song reminds me of clean and long live (particularly long live, it for some reason really sounds like that in my head). but i like that it really relates a feeling that i feel sometimes of like, my life was a mess and sometimes still is a mess but bc i’m in a stable and good relationship, things feel approachable, like, if everything goes wrong again, i’ll at least know for sure i have this, and i think this song sort of shows that off with the  “I don’t want to think about anything else.” it’s nice. it’s calm. i read an oral history today about the kanye storming the stage moment at the vma’s because it’s been 10 years since it happened - and i feel like this album and this song, in many ways, are a plateau on the meteoric catapult of taylor’s relationship with fame that really had started to run before that moment but certainly started rolling after that. i think this song is a demonstration of the growth that she’s gone through over the last ten years that we’ve all watched with such close attention. it makes me feel happy for her. i hope she gets to keep this the way it is. i’ve read that she thought for the longest time that this album would be called daylight and i’m honestly? not sure it shouldn’t be. but the vocal note at the end sort of draws it back thru.

it’s a good album. i think the back half of it doesn’t hang as tough all the way thru as the first half, but overall, i think it’s overall quality is better than reputation even though i think reputation, as a concept album, works very well. it’s a great evolution and a real, authentic thing. very impressive that she’s managed to produce four very different albums successively where as many artists don’t change that much from album to album. but i think that’s evidence of the work that’s gone into them, to be honest. death by a thousand cuts is my early fave.