This is perhaps of the most meaningless, uninspired, and self-absorbed records in Swift’s catalog, and that’s saying something coming off the heels of her last record, The Tortured Poets Department. She’s too big to fail and it seems like she stopped trying because of that. When she’s not sappily trying to convince the audience she really is in love with Travis Kelce—we get it! Forget what everyone said on Twitter, we know you like him, you don’t have to ... read more
Breach is a killer record filled with emo-pop bangers, punk rockers, and genuinely emotional lyricism. From front to back, this project surprised me, and it only got better the second time around. Lots of Killers influence here. There’s an infectious pop energy through the entire thing, but it’s never dull or derivative. It always expand on the pallets it borrows from in creative ways. All around, I don’t know what else to say, this album is their best since Trench.
Outside ... read more
I feel like HEY WHAT is better, but its better in a "it's somehow even more perfect" kinda way. Mormon Excellence.
I almost didn’t finish this album. It’s almost entirely a drag. Lyricism is mildly humorous, even bordering on clever at points. But it’s so redundant that it falls flat. The production is nothing to be desired. This entire thing feels like Carpenter basically just read everything people liked about the last album and half-assed it into a boring uninspiring mess. Out of the few tracks that stand out (Tears, When Did You Get Hot, House Tour), only one (House Tour) is actually ... read more