THE TORTURED POETS DEPARTMENT. And then, THE TORTURED POETS DEPARTMENT: THE ANTHOLOGY. What?
By now, I am guessing most readers have attempted the daunting task of diving into the 31 track album. Riddled with fear, I personally sat on my sofa watching the countdown on my phone. For the last few album drops, my sister (Emma De Vita) and I have sat on our sofa (better known to our cat’s as their scratching post) with my phone open on the new Taylor Swift album linked to our speaker, with Emma’s phone propped up in landscape mode, on our ottoman (our cat’s other scratching post). Only this time, I (and every other listener) was entirely in the dark. With no singles prior to the release or a hint of the genre, I did not know what to expect.
Hitting play I was struck with the somber piano opener lead by a repeated synth rhythm; these elements are carried through track 1, “Fortnight” ft. Post Malone. As the beat rises and new instruments are introduced, the somber energy remains unaltered over the duration of the opening track. Unlike anything really heard before by Taylor, it sets the mood for the rest of the album. With few songs that are ‘upbeat,’ “Fortnight” encapsulates ideas and themes from the entire album pertaining to time (duration and setting), relationships, emotions, drugs and alcohol, isolation, and old drama. Additionally, this lead single got a music video which is a visualizer for the entire album. This is why most of the Spotify music covers are clips from the “Fortnight” music video. Each scene or segment of a clip is related to a theme, lyric, or overall meaning of another song on the album. In addition, there are easter eggs that point back to old clips in music videos such as the paper face Swift and Malone lay on (relating to the paper face in the 1989 music video “Style.” Filled with long titles and no lead singles or hints of genre to clue listeners in to what should be expected, most songs left fans more intrigued than other songs as to what they would be about. The songs “My Boy Only Breaks His Favorite Toys,” “Down Bad,” “But Daddy I Love Him,” “Fresh Out The Slammer,” and “Guilty As Sin?” left fans unable to put a ‘sound’ or genre to the album as a lot of titles among the 31 tracks do not carry a consistent theme or idea like in previous works.
Moving throughout the album was a challenge (post first listen). Since there are 2 hours and 2 minutes of various sounds to choose from, enjoying each song is a struggle. As an upbeat, pop music listener, I gravitate towards the ‘glitter gel pen’ songs whereas friends like Cat Kemp and my sister Emma tend to listen to more ‘quill pen’ songs of the album. There are not many upbeat, happy (glitter gel pen) songs, let’s just say that. And it’s for a good reason. Beginning TTPD 2 years ago, Swift experienced the end of a long term relationship, a fling, and a new fester of emotions for boyfriend Travis Kelce. Additionally, she faced a growing backlash from the public on opinions of personal life, old drama, and her lifestyle. Each of these themes and then some are reflected on the writing and construction of the album. The album is not messy, she has just experienced a lot. Evident through the music and messaging of the album, she is exploring new music and walking life with a different walk. In “Who’s Afraid of Little Old Me” she out rightly states that the industry taught her how to be a business woman, the industry (and the public) wronged her, and she is capitalizing off of the power the spotlight gave her. She has teeth, and she will use them. From her exploding popularity within the past five years, the blonde music sensation built her own spot at the top of the music industry and is comfortable right where she is.
Did she mention Joe Alwyn? Ha, did she. Not only were songs, scattered throughout the album, about her ex, but many songs encapsulated themes of reflection. Heavy in the first 16 songs of TTPD, Swift jabs at Alwyn in the following eight tracks: “The Tortured Poets Department,” “My Boy Only Breaks His Favorite Toys,” “Down Bad,” “So Long London,” “Fresh Out The Slammer,” possibly “Florida!,” “loml,” and possibly “The Smallest Man Who Ever Lived.” The Tortured Chairman paints the picture of her and Joe’s relationship as depressing and isolating. Where she thought there was once love, there was not. Joe wanted Taylor, not Taylor Swift, and that was impossible as Swift finally began to dive into her career—passionately enjoying her line of work. With themes of control and one sided desire, their flame burnt out and the candle never lit again. So long, London!
The second half of the album, The Anthology, was Swift’s extra space for songs pertaining to her life and themes of love. Whereas TTPD is centered more around a “breakup album.” The Anthology includes songs like “So High School,” “thanK you aIMee,” and “The Bolter” all about different parts of her life (love, Kim Kardashian, and a misunderstood woman). Similar to the vault tracks from Swift’s rerecords, these tracks were left off of the original album because they do not fit the refined message the mastermind intends to give her audience. Although TTPD is more of a ‘messy’ album as some critics poke at, there is a clear theme of depression versus love; whether it takes in self love, work love, or relational love.
I cannot rank all 31 songs because I unfortunately have not listened to them all enough but below is a playlist of my favorite songs from the album.