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just-dreaming-marvel · 5 years ago

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CHAPTER ONE - THE BEGINNING

LEGACY: A Tony Stark Daughter Story

MASTERLIST

Word Length: 2,500ish

Summary: Brief summary of Bailey’s life. The Team gets back from retrieving Loki’s Scepter.

I was born November 19, 1997 as Bailey Richards. The beginning years of my life were fairly normal, from what I can remember. And I thought I remembered all of it, turned out that that wasn’t the case but that will be covered later. I had a mom and a dad, no siblings. I was extremely smart for my age, a genius as some would say, and was enhanced. I had healing abilities and super strength. I was happy. And I thought that the people around me were happy. I guess I was wrong. When I was four years old, my parents sold me to what we now know was HYDRA. The first few years of me being there, they didn’t do anything too bad, mainly just schooling. Trying to smarten me up so that I could easily blend in. It wasn’t until I was about 9 years old that they started teaching me how to fight, growing my abilities, as well as torturing and running tests on me.

Tony Stark, aka Iron Man, rescued me in October of 2011. I was 13 at the time. Him and SHIELD put me in the foster system and constantly kept tabs on me. Tony took me from my foster families to have me stay with him on my birthdays, holidays, and whenever else he felt like having me. February 2013 was when Tony finally adopted me. Something about a PTSD episode and meeting a little boy named Harley. Still confused on what that all had to do with me, but I just went with it. Pepper was okay with it but not thrilled. It’s not like she didn’t like me, she actually saw me as the daughter she never had; she was just worried that Tony didn’t know what he was getting himself into.

Once adopted, I moved into the Avengers Tower with Tony, Pepper, and, obviously, the Avengers. I started to train every morning with Natasha, but Tony refused to let me go on missions. Especially since I was a secret to the rest of the world. We both agreed that it would be dangerous for people to know that Iron Man had a daughter. Plus, we had no idea if HYDRA was looking for me or not. So when everyone was away on missions, I just sat at home and worked on a new suit designs, that Tony wouldn’t actually let me make, homework (which was all online, college courses because Tony wouldn’t let me actually go to school), and train.

One day, Tony and the rest of the team arrived home from a mission while I was siting on the couch working on some suit designs for myself in the Avengers Tower. Over the past year, since SHIELD fell, the Avengers have been taking down HYDRA bases trying to take them down and find Loki’s scepter. I never knew when they would be back, missions ranged from hours to days, sometimes even weeks. I noticed that people in lab coats were setting up some equipment in Bruce Banner’s lab, but I didn’t question it. Tony and Bruce were always up to something. As the quinjet came in for landing, I jumped off the couch and ran to the hanger. I stood by Maria Hill and Dr. Helen Cho, who were already in the hanger waiting for it to land.

“Miss Stark,” Maria greeted as I stopped at her side.

“Maria, how many times do I have to tell you that you don’t need to be formal with me just because you work for my Dad?”

She gave a small smirk, which was sweet for her, and then turned her head to the finally landed quinjet whose ramp was being lowered. I stayed at Maria’s side as Dr. Cho rushed to Clint’s, barking orders. He had an oxygen mask on and Natasha had a worried look etched onto her face. They hurried passed us, heading to Bruce’s lab. I walked next to Maria as she headed into the quinjet. Thor was on his way out, I smiled at him as we walked passed each other.

“How’d it go?” I asked him.

Thor opened the case he was holding, showing me Loki’s scepter. “As planned.” He smiled as closed the case back up.

“I’m glad.” I smiled back at him before I continued my way onto the quinjet, a few steps behind Maria.

“Lab’s all set up boss,” she stated, talking to Tony.

Tony was sitting in the pilot’s seat. He put his hand up on a handle bar and began to turn his seat around. “Actually, he’s the boss.” Tony responded, pointing to Steve who was sitting on a step facing away from us.

“I just pay for everything and design everything and make everyone look cooler.” There was a sense of bitterness in the humor of his voice. I rolled my eyes.

“What’s the word on Strucker?” Steve asked. He quickly got up and walked towards Maria and I.

Strucker. That name sent a chill down my spine. He was one of the HYDRA agents that had tortured and experimented on me. Hearing his name reminded me of when Tony found me.

I was the only kid at that HYDRA facility. I was crying the corner of my cage. Yes, a cage. He was all suited up in his Iron Man armor, which scared me because I had no idea who he was. When I wasn’t in the lab being poked and studied on, I was locked in the cage. At the time, Tony was still publicly acting like a playboy, so he did this mission alone and in secret. He reached out for my hand and surged me to come to him. I didn’t budge. Tony, realizing that I was scared, took off his helmet. He set it down and kicked it away. I looked over my shoulder and saw his face. His eyes were faking happiness. I could tell he felt alone, worried, and sad.

Tony looked me dead in the eye and softly said, “It’s okay. I’m here to save you. I’m not going to hurt you.”

I just had a feeling after that that I could trust him. I reached out and grabbed his out reached hand. He pulled me towards him and held me close. He grabbed his helmet and that warned me to hang on tight. We flew off to his Malibu mansion and straight to his workshop. I had a panic attack when we entered it and almost took him out while his was in the Iron Man suit. He quickly took it off and calmed me down.

I shook my head, bringing myself out of the memory, trying to focus on the present. I looked at Steve and gave him a small smile and a little nod. But he was too focused on Maria to return the gesture. So I walked over to Tony who was pushing buttons, powering down the quinjet.

“Glad to see you in one piece,” I joked, leaning against the opposite wall he was working on. “I was worried that they were setting up the lab for you.”

He gave a little smirk. “I would never let anything happen like that to me.” He replied. “I’m much more careful than Barton.” He took the few steps to me and kissed my forehead. “I have you to take care of… Speaking of which, what have you been up to kid?”

“Oh you know… the norm. Homework, training, doodling some suits designs that will never be…” I faded off.

He rolled his eyes. “We are not talking about this again.” He pointed a finger at me.

I put my hands up in surrender. “I’m not the one who said I was ready. I’ve passed every test Clint, Natasha, and Steve have given me. They were the ones who put the idea in my head, not me.” We made eye contact and I could tell something was off. He had seen something while on the mission, something that terrified him. He quickly looked away when he realized that I was reading him like a book. “Dad,” I gently said, “something happened out there, didn’t it?” I grabbed his hand. “I know you. Talk to me.”

“When did you get all grown up?” He avoided the question.

“Dad.”

He squeezed my hand. “Maybe later.”

“We need to go see how Barton is doing and begin running tests on the scepter. I also need to change.”

Tony threw an arm around my shoulders and I put one around his waist. We headed to the elevator and to his floor so that he could change before heading to the lab. Clint, Nat, Dr. Cho, and some others were in the glass room inside Bruce’s lab. We quickly checked in on Clint just for him to tell us that he was thirsty. Tony and I promised to return with drinks before leaving for the main portion of the lab. We ran into Bruce on the way out of the room where Barton was being treated.

“How’s he doing?” Bruce asked.

“Unfortunately, he’s still Barton,” Tony answered. I rolled my eyes.

“That’s terrible.” Bruce joked.

“He’s fine. He’s thirsty,” I responded, walking over to the small kitchen off to the side of the lab. Once there, I began prepping smoothies for everyone. Bruce nodded and walked into the glass room.

“Alright,” Tony began. “Look alive, JARVIS. It’s playtime.” He headed over to the table where the scepter and its test readings were located. “We’ve only got a couple of days with this joystick, so let’s make the most of it. Update me on the structural and compositional analysis.”

“The scepter is alien,” JARVIS replied.

“Well no duh,” I mumbled, continuing the smoothies.

“There are elements I can’t quantify.” The AI continued.

“So there’s elements you can?” Tony questioned.

“The jewel appears to be a protective housing for something inside. Something powerful.”

“Like a reactor?”

“Like a computer. I believe I’m deciphering code.”

“That’s interesting,” I commented. “So the scepter is a device of some sort?” The smoothie mix was done and I began pouring the green liquid into cups.

“That’s what I’m trying to figure out, Miss.” JARVIS answered me.

“But she shouldn’t be worried about it,” Tony said, pointing a finger at me. “She should be worrying about homework.” He grabbed two trays for the smoothies.

“This is part of my homework,” I shrugged. “It’s science. Plus I know that you actually enjoy my help and know that my actual homework is too easy for me.”

Tony scoffed and shook his head as he set the cups on the trays. “I thought you were taking all college courses?”

“I am,” I grabbed a tray. “I guess of just a genius.”

I winked at him as I headed towards the glass room that most of the others were in. Tony chuckled and followed closely behind. As we entered, Dr. Cho was explaining the technology that she was using to heal Clint.

“Oh, he’s flatlining,” Tony immediately teased, “Call it. Time?” I giggled, setting my tray down on a table next to Tony’s.

“No, no, no,” Clint said. “I’m going to live forever. I’m gonna be made of plastic.”

“Here’s your beverage,” Tony whispered to Clint as he handed him a smoothie.

“You’ll be made of you, Mr. Barton.” Dr. Cho informed. “Your own girlfriend won’t be able to tell the difference.”

“Well, I don’t have a girlfriend,” Clint denied, sipping his smoothie.

I looked at him, I didn’t want to call out the super spy, but I had a feeling he was lying. Especially with the way him and Natasha looked at each other.

“That I can’t fix,” Dr. Cho replied.

“This is the next thing, Tony. Your clunky metal suits are going to be left in the dust.”

“Well,” Tony began, “That is exactly the plan. And Helen, I expect to see you at the party of Saturday.”

“Unlike you, I don’t have a lot of time for parties.” Helen Cho responded. I tried to hide my laughter, but it was a little too late. Tony quickly glared at me. He stopped when Helen hesitantly asked, “Will Thor be there?”

“Of course he will!” I cheerfully replied. “Everyone’s going to be there!”

“Everyone, except you,” Tony said pointing at me.

“What? I’m totally going. You’re hosting a party at my house and I’m not invited? That’s just rude.” I crossed my arms over my chest and pouted.

“If Bailey’s not going, then I’m not going,” Bruce commented.

“Thanks Bruce,” I smiled.

Tony took a deep breath, crossed his arms, and looked me in the eyes. “Fine. You can come as long as you don’t fall behind on your homework.”

“Yes!” I threw my fist in the air. “Thanks Dad!” I quickly ran out of the room. I was flying down the stairs, not watching where I was going, when I ran into Steve. “Oh! Sorry Steve!”

“It’s no big deal,” He said, moving around me. “What’s the rush Bailey?”

“Tony said that I could go to the party on Saturday if I don’t fall behind on my assignments,” I answered.

“I see.” Steve smiled.

“Yeah.” I kept heading down the stairs. “So I need to make sure I don’t.”

“Well, if you’re not too tired, will you save a dance for your best friend?”

“Of course!” I yelled as I continued to head to my floor.

When Tony first introduced me to the Avengers, I was so nervous. Especially around the men because of HYDRA. But Steve was so kind and tried really hard to make me feel comfortable. We became best friends almost instantly. Lately though, my feelings have been more than that. Why wouldn’t they be? He’s Captain America! But I can’t let my growing feelings ruin our friendship, plus Tony would never let us date. Let’s be honest thought, Tony’s never going to let me date. I don’t even have friends my age. Don’t get me wrong, I love that he cares but I wish he could worry less and let me live my life a little bit. Plus, Steve and I couldn’t date because of my age. I’m 17, not like it will matter in the long run though. Because of my healing abilities, I will age slowly. Bruce ran tests to confirm it when I first asked if it was a possibility a while back. He said that when I’m 100, I’d probably look nor more than 30. So, to me, age isn’t an issue when it comes to being with Steve. He’s already close to 100 anyway. Its Tony and the fact that our friendship could be ruined. And I really can’t lose that.

next >

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rachelratesmusic · 4 years ago

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folklore

folklore: Taylor Swift’s first album to be labelled Alternative, her second genre change since country to pop, this time from pop to alternative, or folk, but we definitely still have that country story-telling flare that Taylor has always capitalised from over her approximately 14 year career.

And her second album to not be capitalised, after reputation.

Track 1: the 1

First line of the album? “I’m doing good, I'm on some new shit.” Couldn’t think of a better lyric to start. New genre. New producer (Aaron Dessner of The National). New album. New Taylor. She’s doing good! Let’s go!

Track 2: cardigan

The ~delicate~ piano and Dessner production continues from track 1 to track 2, but this time, sonically, there’s an eerie-ness that emphasizes this sadness in the song, which is set from the perspective of someone who has been heartbroken, which Taylor herself has described a teenage love triangle, who’s story is told this track, track 8 august, and track 14 betty. The metaphors in the lyrics tell the story so maturely and beautifully, kind of like this teenage girl is far beyond her years... Maybe someone fairly recently turned 30 and had a lot of life experience…? Maybe Taylor’s most beautifully written lead single ever… Actually not maybe - definitely.

Track 3: the last great american dynasty

Another piano intro… ok… this is definitely sonically cohesive so far.

Oh! An 808 beat now. I’m head nodding! Oh… and she’s still storytelling… nice, that’s why it is called folklore. We take a slight turn here in terms of the mood instrumentally, but not really in terms of the lyrics, or this album's case, the stories being told. The mostly staccato piano chords contrasting the legato guitar slide fills along with the 808 electronic drum beat create a sort of light, bouncy, exhilaration, but what cleverly stops this exhilaration is the word painting where a minor chord is used on top of the second last word of the chorus, which is the word “ruining”, as well as a string section rising in volume to introduce us to the bridge, which is the climax of the story and the highlight of the song. Because in the bridge Taylor does what Taylor does best, which is the contribution of her own story through the lyrics, and that’s a part of the reason why we’re all devoted listeners.

Track 4: exile (featuring Bon Iver)

tbh... I’d never heard any Bon Iver music before this... I know, I know, I’m sorry. So on first listen I was ~low key~ startled at his hella low voice. But this song has grown on me. It can easily be compared to The Last Time on Taylor’s Red from 2012 where she duets with Gary Lightbody of Snow Patrol but I prefer exile. What makes this song imo is when Bon Iver sings the word “CRyin’” around the 2 minute and 20 second mark, which again like the last track, the bridge of this song is what you’re waiting for as a listener to take you to new heights, where both vocalists deliver here, with Bon Iver ~nearly~ belting and Taylor being the opposite responder at more of a soft, tender volume, they both deliver the two different sides of the story in two different captivating ways.

Track 5: my tears ricochet

Look… I’ll be honest again… This is... MY FAVOURITE TRACK.

The standout part of this song is it’s whole buildup and the lyrics. ---(come on, we’re talking about a Taylor Swift track 5 here, historically we know it’s going to be a standout in the lyric department and Taylor herself has described every track 5 of each of her albums to be her saddest songs) Also historically, Taylor fans know that this section of her albums are where the best lyrics are kept.

First track on this album to be produced by long time collaborator of Swift, Jack Antonoff, the track begins with vocal ‘ohs’ reminiscent for me, of Imogen Heap, where now I feel I have to mention when Taylor collaborated with her on Taylor’s standout track “Clean” on 1989 from 2014. While Heap’s work may be littered with vocoders and electronics, my tears ricochet is natural, and surrounds the listeners ears with panning and reverb like they’re in a room surrounded by echoing Taylors. Then she makes you feel like you have betrayed her with how far she lets in, both with her detailed lyrics and how she is singing with the pacing of the melody, stopping and starting.

The build up is really noticeable as the bridge starts and the thundering drums hammer home the idea that Taylor can’t go home and after all this building, she lets go on the words “stolen lullabies”, where you feel this sense of freedom when the backing vocals of the intro return before the last chorus and again, the outro of those surrounding vocals we know so well.

With lyrics like “and if I’m dead to you, why are you at the wake?” and “you wear the same jewels that I gave you, as you bury me.” my tears ricochet easily triggers chills. (literal chills)

Track 6: mirrorball

And now… we have stepped into the past. The tone and picking of the electric guitar in the intro and first verse take me right back to the 70s… when I wasn’t alive…

Anyway, it’s another song about her personal struggles around fame and trying to “fit in” and stand out, which she encompasses so elegantly in the metaphor of being a shiny, shimmery disco mirrorball.

And sorry, as much as I do love it… it is the one song I would skip if I had to… and sometimes it’s skipped by choice, which tells you it’s the weakest track on the album in my opinion, but not easy to live up to the previous track that is so intense, so it is nice to have a more chill take in music and lyrics, although the lyrics can be really thought provoking if you want them to be.

Side note: where are the drums in this song? To hear the kick drum I have to focus really hard, which can be a good thing if you’re looking for a chill song, like I said I was after my tears ricochet, but it’s not a good thing either...

Track 7: seven

Every single little detail of this song is so elegant. Aaron Dessner’s light touches on the piano and guitar as well as the accompanying string section are just guides for the vocals telling the story of the love shared between friends throughout childhood and how that love lasts, so long which Taylor describes so eloquently in my favourite lyric of the entire album, “passed down like folk songs, our love lasts so long.”

The slightly higher pitch and slightly hushed tone Taylor sings in as the song begins, is unlike anything she has sung before. It reminds me of her previous tracks “Sad Beautiful Tragic” from her fourth album Red from 2012 or “Safe and Sound'' from the The Hunger Games soundtrack, but those songs were hushed and low pitched.

Where she sings like this is labelled as the first verse by Genius, where everyone gets the lyrics to songs nowadays, but how the two contrasting melodies are sung, to me the first section or melody seemed like the chorus the first few times I listened, but the second section or melody is also the closing melody and it would make the most sense the end on a chorus. While this may be confusing, at least it is a bit to me, I’m glad that Taylor has strayed away from the traditional pop structure in this track which is another reason why seven really stands out to me.

Track 8: august

The third song to be produced by Antonoff, August is what I’m going to describe as a getaway song - and by that I mean there’s a certain urgency to the pacing because something wild is happening! Whether it’s robbing someone or something in “Getaway Car” from reputation (2017) or crying in the back of the car in Lover’s “Cruel Summer”, also both co-written and produced by Antonoff, August joins this exclusive club.

The chorus melody is pretty and bright - while it feels mature, at the same time it feels like I am hearing this story from a love struck teenager, which you’re supposed to as it’s a part of the teenager love triangle story Taylor has going through the album, with this being the point of view of the third person in the relationship.

August’s bridge is it’s invitation to my made up Getaway Song party, which is a very exclusive and elitist party. The urgency in the pacing to pump up the climax of the story she’s telling, is very much becoming a TS trademark, I’ll be very happy in the future to give out more invitations to the Getaway Song party.

Track 9: this is me trying

Not gonna lie… this is simply one of my favorites because I feel it! This is me trying dammit! At least I’m trying! But this is what Taylor Swift does best, when you have the same feelings or emotions as her, and she decides to express those emotions in song, you can feel like you’re not alone for a moment which can be freeing.

While not outstanding production wise, I feel I can let it pass, because I love Taylor’s storytelling and ability to depict the craving for wanting better of yourself and trying...

Track 10: illicit affairs

Where were these pre-pop Taylor acoustic guitars before on an album called folklore?! Taylor is a guitar girl and I need my pre-pop Taylor acoustic guitar instrumentals!

While the title clearly indicates the story’s substance, this track feels like it’s over in the blink of an eye, while yet again, the highlight of the track is the bridge. Personally, it’s my favourite of the album beating “my tears ricochet” and “august”. There’s just something about it’s steady beating progression and particularly the way she emphasises the words “kid” and “baby”. It draws you in to feel the pain of the story’s protagonist, as well as it makes you want to shout the lyrics to help the protagonist get some sort of justice.

Track 11: invisible string

The acoustic guitar continues, and I am overjoyed, but this time it’s different, where a muting technique is employed, with an accent on the highest pitch string, which isn’t muted to create a sort of release. While writing this description of the guitar, despite having already listened to the song a million times, I thought, the song is called Invisible String, a guitar has strings, and the muted are muted, or made to sound invisible? Nice word painting Taylor. It took me a second. (If it was even done on purpose.)

More on the actual “invisible string”, I love the metaphor of it which seems to be based on Chinese mythology’s “Red Thread of Fate”. Which you get a loose description of through the songs lyrics. Along with the previous track, “the 1”, “invisible string” sounds the most pop-like to me out of the entire album so far. This is because there is a clear difference between verse, chorus and bridge, where the chord pattern actually changes between each of the three. All of these things combined makes for one of my favourite tracks on the album. And lastly, how can I not mention the mentioning of her own song “Bad Blood” in the second verse?

Track 12: mad woman

I can’t help but think this is the grown up version of The Man. In saying that however, I don’t mean at all that The Man is not good - it brings up serious issues in a very dignified way.

But “mad woman” is a song all on her own with beautiful, but at the same time, dark instrumentation and lyrics that really make you think about what she's talking about, which is something slightly different to “The Man”. Whether it’s her core shaking lower register or her first use of an F bomb ever, it’s sure to catch your attention before she opens to the lyric “you made her like that”, and then the bridge, where I have probably mentioned before in this review, Taylor really opens up the story, while plainly stating, “you took everything from me.”

The sonic cohesion continues with the guitar in the back of chorus, very similar to TLGAD, which is peaking out as being a signature of Aaron production.

Track 13: epiphany

“Epiphany” stands out. In the best way, and if you’re a Taylor fan you’d expect it to, as track 13s have traditionally throughout her discography, being her lucky number.

I’m not going to lie, this is the hardest song to describe and rate. Because it is so different, and honestly, that is why I really love it. Strung out vocals in the verse, contrasted with more staccato vocals in the chorus, the wide, elongated instrumentation, behind those vocals, it’s easy to depict some sort of battlefield scene in your head. Which actually links to it’s one thing in common with the other tracks in this album.

And what is the one thing in common with the other tracks in this album? It’s storytelling. And this story’s substance really makes you think, continuing the tradition from “mad woman”, but with a completely different storyline focusing on and drawing together the harsh events of 2020 and a past war where Swift has stated that the track was also inspired by her serving grandfather.

Track 14: betty

“Betty” concludes the teenage love triangle trilogy of songs and stands out as one of the more pop-ier songs on the album. Like Bon Iver’s voice was a surprise on “exile”, the harmonica was a welcomed surprise on “betty”.

There are two components to this song that make it a great one, those being it’s clear instrumentation, and it's clear story. Let’s start with story, where I already said that this is the final chapter to the teenage love triangle story, I believe this song doesn’t need an explanation, because, and this is the last time I speak about storytelling, this one song is like a good book and tells the story (one side of it, that’s where the other songs come in) from beginning to end.

And then the instrumentation, which is just vocals and harmonica on top of a marvelous sea of all sorts of guitars, with the strumming acoustic keeping the beat, and electric swells. With this track being the only one that joins both Aaron Dessner and Jack Antonoff as producers, it’s not hard to imagine they’ve both just picked up guitars and added to Taylor’s charming story.

In the ending where we see a key change and slight change from the chorus lyrics to tie up the happy ending to the story, “betty” cannot not be compared to Taylor’s 2008 hit “Love Story” where in the ending the lyrics are changed to sum up and fit the joy of a happy ending.

Track 15: peace

This track begins with a pulse, which Dessner has described as Bon Iver inspired. This pulse then flutters away and leads into more guitar, and by this stage you should know it’s what I’m waiting for - but it’s a bass guitar taking the lead ostinato or riff this time. Even better, because it’s unexpected, a punch in the guts, they say, like a harmonica on a post country Taylor Swift album? I need to stop going on about the harmonica, this album is called folklore.

While this track illustrates the love shared with that one person, it is no “Lover” (the song) or “Love Story”. It’s like this is the real life side, or the grown up side to real love, with statements like, “sit with you in the trenches” and that one question, “would it be enough if I could never give you peace?” I think it really demonstrates how far she’s come, along with that pulse soundscape , bass guitar and piano towards the end makes for an uncomplicated lead to Taylor’s most thought provoking lyrics in a romantic based song ever as well as being probably her most sophisticated song ever.

The devil really is in the details with Taylor’s music, which is both super comforting and complicated at the same time, with references to past songs, and I’m not even going to start to explain how Taylor is obsessed with leaving her fans easter eggs, but it’s kind of funny how this album had pretty much zero easter eggs in the lead up to it. Now I’m feeling comforted again.

Track 16: hoax

Speaking of feeling comfortable - shh. I’m listening to “hoax”, sitting next to the fire burning in my fireplace, wrapped in a blanket, with snow falling ever so softly out my window. Nope, that’s just the image in my head I get from listening to “hoax”, I live in Australia where it doesn’t snow much.

“hoax” is slightly lackluster dynamically for an album closer in Taylor’s discography, compared to Daylight from Lover or Clean from 1989 with New Years Day from reputation being the exception, which I also feel is slightly lackluster. Based on it’s soft sound, I’d prefer it wasn’t the album closer, even though it is lovely to feel so cozy as the album does close out.

But besides that, it is a cozy sounding song with some not so cozy lyrics. Closing out softly, it’s another case of Taylor leaving possibly her best and most beautiful words for last, with lyrics such as, “Stood on the cliffside screaming give me a reason, your faithless love’s the only hoax I believe in.”

3 Facts:

1. This is the first time ever that Taylor has had an explicit rated album and songs. So exciting.

2. Her first collaboration with Jack Antonoff was in 2013 when they created the song “Sweeter Than Fiction” for the film One Chance, and Taylor has since used Antonoff as a producer on every one of her albums.

3. Nobody knows for sure who William Bowery is. Who is William Bowery you ask? William Bowery is a co-writer of “exile” and “betty”. There is speculation… But no one knows...

To tie things up, Taylor delivered, this album is what a lot of people wanted, including myself. And what we wanted was a warm, acoustic, story focused album, which we got. But for me there is one thing missing, and I’m not exactly sure whether it is possible that it would fit on a flok-y warm album, but I miss Taylor’s pop catchy melody songwriting that we’ve all grown used to, where a hook would get stuck in your head for days. Not exactly folk-y, I know, but I miss it from Taylor. Not to take away from the fact at all that this is a very strong, solid album in her discography and a completely different weapon up her sleeve compared to her pop and country past.

My favourite tracks: my tears ricochet, seven, peace, this is me trying, illicit affairs, invisible string, epiphany

4.7/5 - it’s not perfect, but is it Taylor’s closest album to perfection? Possibly…

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