CD reviews
TAYLOR SWIFT Reputation
TAYLOR Swift, Ed Sheeran, Future and a bunch of Swedish music producers walk into a bar … There is no punchline to this joke, but it is pretty funny that someone thought Swift and Co should collaborate with a boyish British pop songwriter and an Atlanta rapper. Like, why? There are a lot of “why” moments on Swift’s sixth album. The abundance of trap beats and polished yet lightweight dubstep is all going to date badly and quickly. It’s hard to believe Swift wanted to go down that road, unless she was just looking for a change of pace from her past — it certainly is that. This bombastic music feels like a cynical move that was decided in a boardroom by committee, rather than by an artist looking for the best way to express herself. The talk-singing, spoken delivery, chant then chorus style of writing a pop song used frequently on Reputation is more early Kesha than modern Taylor Swift. It doesn’t play to her excellent ear for melody. While the album themes concern themselves with romance, ex-lovers and revenge (on brand for her), there are too many moments that are groan-worthy. The emotional depth of this album is akin to fairy floss, which is strange for a writer with a reputation for penning heartfelt, personal lyrics. The world has bigger problems than Swift’s dated feud with Kim and Kanye, and it’d be cool to hear her opinion on them rather than lyrical jabs at old foes. All of this matters not. Swift is impervious to criticism. Early sales had this album at No.1 in more than 100 countries. She stays winning.
Red and 1989 were pop gold. This album is a sad fourth place at best, not even a bronze medal.
MANIK Undergroundknowledge
FOR his new album, New York house music dude MANIK has penned an ode to his city. He may live on the West Coast these days, but clearly the five boroughs have not left his system. Far from a gimmick, the way NYC bleeds into each song here gives it that little spark that many electronic albums are missing — it feels like a full story, not just a collection of tunes to rock at 3am. He takes the listener on the train, into a bodega, and to the neighbourhood where he grew up. And it’s not all house music, although there is plenty of that in the deep and tech varieties. He gets adventurous with sounds such as hip-hop, oddball interludes using chopped up news reports about the “evils” of graffiti, and a whole bunch of acid house. The album starts and ends with the 7 train, completing the circle and showing off his artistic approach and understanding of how to make something conceptual and entertaining at the same time.