, just became the first in eight years to sell more than two million album-equivalent units in a week, thus setting a variety ofrecords, including being the first album whose songs occupied the top 14 spots of the Hot 100. But at this point, it almost feels like record-breaking success is routine for the Pennsylvania-born Swift, one of the most popular American singers of the last 20 years.
The pitched-down vocals on “Midnight Rain” and “Labyrinth” feel like an embarrassing relic of 2010s Soundcloud production trends. But “You’re On Your Own, Kid” and the sparkling “Karma” exploit the full potential of this sonic playground, and “Mastermind” and “Anti-Hero” sizzle with clever, self-deprecating humor.
For seven straight albums, everything Taylor Swift did was louder, brighter, and more polished than its predecessors. But after heading in the same direction for over a decade, the COVID-19 pandemic gave Swift an opportunity to step back and scale down. Unable to tour in support ofwas a pivot towards the kind of “indie record much cooler than mine” that she’d sniffed about on one of her pop hits — complete with members of The National and Bon Iver assisting.
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