Mini Album Reviews 2022 pt1

Music Review 2022

In 2022, I didn't get enough time to write any new reviews; I've got many reviews in the drafts but none complete. So when making my top albums of the year list, I'm struggling with placements because I've got nothing to go back to that recaptures my feelings throughout the year. Therefore, I'm going to do mini deep dive reviews of the 15 albums I think are in contention of my top ten, rating each song out of ten with a line or two review to justify my rating. The mini reviews are in no particular order, but will help me make an authentic and honest top albums of 2022 list.

Florence and the Machine- Dance Fever (May 2022)

Album Review: The highs are so high and so worth it, but a lot of the tracks are too tame and maudlin with filler aspects that makes the overall listen a bit bloated. It a return to form with some of the highest highs Welch has had in over a decade but as a full body previosu albums work better. 7/10

Track by Track Review:

King- The lyrics are so interesting, illuminating the female experience of business that you often forget where businesswomen of a certain age have the societal expectation to have kids yet want to continue being the best in their field, but can't. It opens with the themes of the album where Welch examines her place in rock music and as a star who just loves to make music. Her voice is an instrument and travels effortlessly from the dark and moody to the large and bombastic, with a production that is equally haunting and euphoric, this is musical bliss. Those strings and horns are to die for, easily one of her best songs in years (10).

Free- My most listened to song of the year highlights why I love music and in particular Welch's bombastic style: I use music to contain my worrisome thoughts. The lyrics examine the constant push and pull of anxious thoughts and how dance and music can just for a moment relieve them from your mind to put you in a space of euphoric bliss. The messy production is perfect to be played as loud as possible as you run around your room singing and dancing and not thinking. The pace, the energy, the emotion, again Welch hits you with one of her best songs in years that demands to eb put on on repeat (10).

Choreomania- It is hard to follow up two songs that are undeniably perfect, and Choreomania just doesn't live up to it. The opening speech is too slow and ruins any repeat value. The build up is great with the fun claps and tip toe into darkness that explodes into a sense of euphoria come the later half- it just takes too long to get there. The lyrics put Welch's anxiety under the microscope suggesting that they are unfounded and that no matter how people perceive what rock is supposed to be, she ahs every right to be here. It just an early rehash of themes that were tackled better on the last two tracks. It is good but not great (6).

Back in Town- 45 seconds or more-a-less silent build up really ruins the pass of the album, whenever I listen from start to finish I always have to check whether my app is just playing up or not- it really ruins the repeat listening of the song and the album without giving anything. She then goes and repeats it with a 45 second come down at the end, yes it feels angelical like she is walking to and from the light of God to give these spiritual catharsis but that doesn't mean it is pleasurable to listen to. The lyrics are top tier about the fear of returning back home either after moving away or just a night out, and the anxieties of seeing people again whether they had changed, whether you had changed or the place is different. There is a maudlin sadness which is painful and oh so relatable in Welch's delivery. Maybe if the track was 1 minute shorter then her gorgeous lyrics and stripped delivery would stop this track being rated so low. (5)

Girls against God- Again, another overly long intro that I could do without, but at just 27 seconds it is less gratuitous than the previous track. But oh my days, the lyrics. The lyrics. Never has an artist taken words from my mouth that I never knew that I had and just stopped my dead with the realisations she helped me verbalise. The underlying rage that lockdowns and pandemic caused where I felt so angry every day knowing there was nothing I could do but put up with it; the way it changed my body and my mind and still to this day has an ever lasting effect that enrages me, yet I'm just a spec of dust, noting important and others had it so much worse. This dichotomy of something feeling so important yet so pathetic that all you want to do is scream into the void and then move on. I can't encapsulate in words how this song makes me feel strong, heard and yet so weak and invisible. I could have it on repeat for weeks and still have a euphoric experience the next day putting it on again. (10).

Dream Girl Evil- Sounding like a reprise of Mother from HBHBHB, a track I didn't care for at the time, this is the kind of Welch track that just doesn't hit for me. It not bad, but not as dark or bombastic as her best tracks, nor as poignant and beautiful as her others. The chorus is too repetitive with no catchy hook, the beat is beating but not memorably so- it is aiming for this big stadium filler moment that I am sure is everything when live but it just there when played through head phones. The lyrics seem to be a clap back to the haters, as the complete opposite of a Florence hater, I don't think this was intended for me. (5).

Prayer Factory- A short interlude that seems to symbolise the albums step into darker territory as it is spooky and magical. But, simply has no replay value, I wouldn't go out of my way to skip it on a full run through, but I will never remember its existence. (3)

Cassandra- Cassandra, a women who sees the future but is destined to never be believed, a great historical metaphor for being a woman in a male dominated industry and genre. Welch seems to examine her success in the industry and her recent lack there of where she no longer feels as powerful as she used to, in addition, she forcefully dissects the changes in the music industry in particular the rock genre and her place in it being a woman that doesn't fit the mould. The haunting bridge that explodes with the final verse is euphoric and builds beautifully to a rage filled stop. I don't know why I don't love this song more, it is dark and haunting like some of Welch's best, it builds from a beautiful flutter to a rage filled crescendo and the lyrics are interestingly detailed about themes and topics I find interesting. Maybe its not catchy enough, maybe it is on an album with songs that outshine it, or maybe I need time for it to grow. (7).

Heaven is Here- I have a strange relationship with this song: released shortly after King, it was a massive come down from grace and I simply did not need nor want to listen to it when King just outranked it to no end. And then, the ear worm build with Welch's haunting coos and animal like interjections paired with the mesmerising dance of the music video drew me make in. It shouldn't work and quite frankly on some listens it doesn't, however on some days it hits nicely where I look forward to the brief but beautiful interlude. (6)

Daffodil- From the opening note, I know this will be one of my favourites. It is so big, it is so blue, it is so beautiful. Taking a flower that connotes the rebirth of spring as well as being a fixture of internal suffering with outward glee in romantic poems such as Wordsworth (which Welch's mother is a lecturer of), Welch has the perfect concoction of metaphors to examine her relationship with music and the music industry all on the face of a daffodil. Within this tiny track she examines her anxieties of coming back to release another album, her position as someone so powerful yet so delicate, how it all could come to an end or could explode, the beauty and hatred that she battles every time. Wordsworth would be proud. With inferences to previous tracks, here the themes of the album unravel themselves within Welch's turmoil and you appreciate how personal the album has been through examining Welch as a person and Welch as an artist. (9)

My Love- I don't actually understand why this was chosen as the single to get radio support, King, the first single, was not pushed, Heaven is Here was obviously just a promotional single and Free was released just before the album so didn't get its time in the limelight; yet, all are better than this. My Love is fine, I like it, the production has a flurry of energy and bombast that is fun but not overwhelming. The lyrics are fine, I like them, as Welch struggles with relationship issues and not knowing what to do other than this which again could very easily link to the idea that without music she wouldn't know what to do in turn answering the questions posed on previous tracks. And Welch's delivery is fine to. I see why it was chosen as a single but it is easily the least memorable track released before the album- I'm just glad the remixes were excellent. (7)

Restraint- Another unnecessary interlude that is a waste of 45 seconds and quite frankly this late on the album makes it feel even more gratuitous. Maybe there is an overarching meaning for it but to be honest it is so insignificant I simply don't care. The lyrics could fit on a post it note, the production is fine. The only point of note is Welch's fun delivery but she has done similar on earlier track to better avail. (2)

The Bomb- Honestly, these last two tracks blend into one. They are both more a less throw away cute little thought games where Welch re reminds us what the themes of the album were, even though the album could easily end at Daffodil and the themes would be just as clear. Here Welch coos about the destructive nature of being famous in the most tame and maudlin way. She ahs done it better on earlier tracks where she has presented the dichotomy of Welch the person verses Welch the artist in a less drab and more nuanced way. (4)

Morning Elvis- Yes, this track is a fantastic closer because it encapsulates the emotional journey we have been on examining Welch's relationship with music, rock and the industry and here she presents her journey against the backdrop of Elvis the greatest living Rockstar who was abused by the industry and died because of the drugs fed to him and the lifestyle he was forced into, which Welch has previously discussed her fearsome relationship with drugs and alcohol and the Rockstar lifestyle. So there are certainly new and interesting parallels as Welch denotes how she is not at the point Elvis was and has never got to that point and no matter how low she gets as long as she can make it to the stage everything will be okay. The sounds of the crowd at the end add this emotional climax as Welch has overcome her demons and has made it to exactly where she wanted and needed to be. It is cathartic and beautiful and rather emotional when you think about it. Simply, I respect it more than I enjoy it: its nice, but doesn't hit me the way I'm sure it could for many others. It is objectively very good as a closing song and beautiful track, but subjectively it just not for me. (5)

Charlie Xcx- Crash (March 2022)

Album Review: I'll admit, I've never listened to a Charli Xcx album before this as she holds a weird place of being too experimental when I want my pop fix and being too mainstream bubble gum pop when I want my hyperpop, experimental or indie fix. However, her marketing this album as the album before she resigns her contract so needs it to be successful so she can make her type of hyperpop is so interesting. I've never heard an artist be so honest and blatant with a theme that I adore in music, the relationship between art and pop, that I couldn't not take a listen. But when listening, it clear my initial judgement was ultimately correct: the pop is often not fun enough nor does Charli commit enough for this to be the pop bubblegum sickly sweet that you secretly love, and the experimental aspects are saw dusted down enough to be mainstream enough that the tracks aren't interesting or committal enough to revisit. It is perfectly adequate pop that is a fun listen but doesn't grab you where it should or take you to the places the pop girlies can. 5/10

Track by Track:

Crash- The thesis statement of the album where Charli states how everything she has built could come to a legendary end if she doesn't change and bring new fans with her. It admits her flaws, her statement for the future and how she is selling out and how much fun this could be to watch her either succeed or burn, and quite frankly it is a promise I'm intrigued by. As an opener, it gets me excited for the album as well as being a breezy slice of pop that is fun to put on and enjoy. Ultimately, the song is nothing revolutionary or awe-inspiring but it is a tantalizing promise of more to come. So it sets the album up well and worth a listen even if I wouldn't return just for this. (6)

New Shapes- I should like this more, Christine and the Queens is an artist that I should like more but haven't found a song to truly indulge myself with yet, and my Spotify is always suggesting Coraline Polachek as someone I algorithermaticly should enjoy but never matched. This song is not going to be the one to get me invested in either as they all kind of blur into one in this perfectly adequate song. Lyrically it a great sentiment piece for the narrative of the album as all three artists reject the idea of selling out and being popular and recognising that what the mass industry wants they don't have it, but can playfully entertain new ideas and shapes they can meld to their own idea of fame. It just too middle of the road, not poptastic enough to indulge in, not experimental enough to be interesting. (5)

Good ones- Charli going full pop actually has some bite to it, like ooo that bass line is sexy as fuck and her soft but sultry delivery is tantalising and fun. Its dark and fun and the slice of pop that is so rarely on the radio these days but filled the 2000s. Whether she is talking about bad boys and love or that fact she is a song writer and has had a lot of success giving her ebst songs away and her relationship of leaving her more experimental songs for herself. It is not going to redefine history but it is nice to know Charli can more than compete in bubblegum pop if she wanted to. (8)

Constant Repeat- Charli's allure ahs always been that she is on the edge of superstardom and always seems to miss out by a small margin as every now and again she ahs a massive hit or a critical darling. Here she seems to play with this idea that if the industry just gave her more time and chance she could be there along with the other superstars. However, if she wants to be the best, then the songs need to be better than this as this is so tame and fluffy that it should have been called filler. It an adequate album track but not something to be on constant repeat. (4)

Beg for you- Rina Sawyama is on the rise to become a gay icon, and Charli has always had an iconic status of being the queen of the twinks, so this match up was destiny and should have set the gaysphere alight. But like most gay movies this year, it landed with less than stellar reaction which I'm not sure why. It is great fun with an interesting interpolation and in a year of utter shite interpolations of nostalgic hits this is one of the better ones. And Rina and Charli sound really great together playing off each others sound being distinct enough to be individuals but showing you exactly why this song was born to be made. It doesn't get me as excited as Good ones even though everything is there that it could, mainly because I think the edges are sanded down to make it radio ready. (7)

Move Me- You could very muchly reread my synopsis of Constant repeat and not much would be different here, except occasionally after the chorus there is this glimmer of hope of something more something more fun something more interesting. Its polite filler in a nice almost ballad like pop song that again if this is what Charli thinks radio pop is then radio pop is pretty uninspired. (5)

Baby- Yay we back to fun Charli. Again, it is fun pop music that doesn't take itself seriously yet has a really great groove with the background guitar and little kicks and flicks that make it sound fun and filled rather than the under baked tracks seen previously. The lyrics are a bit generic and ends on Charli repeating over and over how she is going to fuck me up even though this track is neither dark enough nor hard enough to make that threat hit. So, yes it is a bit cringe in places, yes it is a bit generic, but under the guise that this is Charli doing pop music commanding you to pay attention it definitely puts you in the right direction and only misses the bite or command to truly put the listener in place. Like she is saying all the right things but with the wrong demeanour to make you believe it. (7)

Lightning- The most "experimental" so far, yet still the edges are soft and bubblegummy. It is like Charli said she needed a track to appease her stans but yet still fit on a bit of a bland pop album and this is the result. I feel like this is where the Rina collab did no favours to Charli because I could very easily see Rina bodying this track and giving it that extra flick to make it that little bit more, but here this sounds like someone trying to do a Chalri Xcx track. Again, it is fine listening on the album, nothing you'd come back to, but a little bit more memorable for adding some flickers of hyperpop. Its like if you had never heard hyperpop and wanted to dip the tiniest toe in, then this would be a meek way to do it. (6)

Every Rule- A ballad about cheating which delivery of the chorus with that stilted one word per beat delivery is literally seen better in other places. It is a mesh of parts seen else where on the album with noting of interest added. At this late in the album filler like this offers even less to come back to. Its drab, its dull and not something I'll come back to. (4).

Yuck- A disco esq groove with lyrics about guys being too loved up and mushy because Charli just wants sex. When a song can literally be encapsulated in a sentence it just like come on Charlie, pop is more than this, you can do better. Its fine, groovy, and like basically fun. Maybe earlier on in the album id be kinder to it, but when you've listened to nine other songs that are more a less the same kind of bland pop. Like when she was interviewed for this album, Charli cited Lady Gaga's Fame as an album similar where it is filled with radio pop and then Gaga could go on to do what ever she wanted afterwards, but what Charlie misses is this respect for the audience, Gaga's pop was always the most extravagant pop pushed to the limits of pop and quite frankly it was fun, all of which this is not. (4)

Used to know me- A club radio banger that is like made for UK radio, europop just slaps here and fills the radio waves and clubs and therefore this feels like a well trodden hit that could be blasted anywhere. Like Charli's other recent pop smashes Out Out this is actually fun as her girl like vocals add a young and free at the club vibe. It is a genre Charli excels in. It is white girl fodder and there is nothing wrong with that, nothing revolutionary or anything but with the right spotify playlisting this could be a hit. (7)

Twice- At this point, if you told me this album was only 30minutes, I would call you a liar and continue rocking myself to the dull dull tones of Charli doing basic basic pop. I've had the same song on repeat for ages with this album and I know she is telling me to not think twice but I can't help think this was a waste of my time. If you want higher level commentary then please reread the eleven other track synopsises that I've done for this album as nothing is new here. (4)

Ginny Lemon- Tonic (August 2022)

Album Review: Look I'm ashamed to say, but I enjoy joke albums. I was raised on the time of the internet when Weird Al was massive as well as crappy song parodies were racking up millions upon millions of views and I was many of them. I am however, not a fan of drag music because they try and be the most serious disstracks with the lamest production over cringy lyrics that take themselves too seriously, this however is most certainly not that. This is silly fun with banging beats and insane lyrics that make you smile and shake. 6/10

Track by Track:

Ding Dong- This just builds and builds into a lowkey fun bop with some actually really great harmonisation and flickers of interest production tat shows even though this album is anything but serious Ginny is putting effort into the layers and having fun with it. A mini existential crisis about the passage of time and uselessness of working every day. The word wankers is just funny isn't it. Its funny in its absurdity and how I can just imagine loads of flying Ginny Lemons making their little noises as you fall in some kind of drugscape. I enjoy it alot. (7)

Biscuits- Its so lovably British and silly what more can you say that if you are looking for high class this isn't it but a good time with a wee biscuit is sometimes exactly what you need. The "4" gets me every time. You can't help but tap your foot and when Ginny comes to the emotional bridge you are invested that they could have forgotten a biscuit that the fun and over the top last verse is just the right level of silly fun. (7)

I'm so offended- Hello Ms Ginny, the beat slaps while they get political with their distain with the way the UK is. The beat is foot tapping ready until the minute mark when things seem to slow down slightly and then speeds back up again, its these weird pacing issues that stops the song being a full blown banger, but all the ingredients are there. (6)

Mailman- The line about how emails couldn't get Ginny hard the way letters do is delivered fantastically. This belter of a track captures the frustration with basic shit and I can often feel like making a song like this for many different aspects of my life. Its just a fun deposit for anger. Its not as well developed as the other tracks but still well worth a listen. (5)

Bump off a key- So much fun. The manic nature of this track perfectly captures the madness of a club night and what I am sure a bump off a key would be like. This is raucous and vulgar and fantastic for it, its unapologetically insane and I love it. The surprise vinegar strokes feature is also greatly appreciated and it just sounds like a bunch of friends having a lot of fun even if a bit too much fun. (7)

I am over my overdraft- This feels like a mini call back to Ding Dong, its actually quite a frank conversation about the lack of money in uk drag and how we as a community need to so something about it. It also helps that the song slaps and is close to Ginny giving us a lil ballad. (6)

Cleggums- I have absolutely no idea what a cleggum may be and quite frankly I'm too scared to google it. The production is funky and does enough to distract me from the confusing lyrics. (5)

Woolworths- Yeah this is exactly what I want from a joke album, banging edm with a great generic build up that explores a legendary shop from my child hood. It is very silly and just fun. (7)

Cilla Black- Surprise surprise Ginny does it again, banging beat with fun lyrics. How can you not love this. (7)

Burnt Pizza- This is a gay club banger, you may say there is more Ginny Lemon than burnt pizza and strange penises and I would agree that this track is bit under baked, but I would also say this is a coming of age story of Ginny rediscovering themselves when they dont recognise themselves any more and the food based struggles they go through to redefine themselves. Its camp. (6)

Purple Hoodie and a Gimp Mask- That's all it is. It does make me wish we got Ginny on the girl group challenge. Fingers crossed for all stars. (4)

Taylor Swift- Midnights (October 2022)

Album Review: Swift is an artist of many faces and is many things for many people, the pop harlet, the country bumpkin, the skilful story teller, the clap back queen and so on and so forth. We get every type of Swift in this album, but for the most part it is dredged in a tiresome and gloopy production which is difficult to muster through and makes many song melt into a bland moody vibe with little structure nor fun. So for that you can say it is her most cohesive blend of her many faces but I much prefer her scattergun approach of her previous albums where every song is a clear facet of Taylor and I can pick and choose the ones I can stand. Here, the gems are so covered in muck that it is near impossible to see where one starts and the rubbish ends. In addition, the clear desperate ploys for tik tok virality makes this feel exceedingly inauthentic and calculated even more so than reputation, which is saying something. The highs are never high enough for me to return and the lows are certainly low enough to make that feel okay. 4/10.

Track By Track Breakdown:

Lavender Haze- That fucking squeaky toy Swift keeps stepping on needs to be fucking murdered because every time it happens I want to kick off and I will fight it on sight. Breathe... Its a basic bitch love track that feels like it could easily be at home on Lover even though a lot more of the lover tracks had more colour as this feels rather drab for a love song. Its got a nice pulse that keeps the track moving a long but it just goes no where and does nothing. It just the usual Swift love song with nothing added or changed. You could have it on repeat and not realise when the song started or finished which lets be honest in the ag of spotify is exactly what you want. That is kind of the problem with this album is it feels like the seems are showing to clearly, like this track talks about going viral and too many choices on this album are so clearly made to go viral on tik tok that it just brings me out of the experience. See, I'm talking about the rest of the album because this song gives me nothing, it would have been a passable 5 for just existing but that squeaky toy really grinds my gears. (4)

Maroon- Okay, I understand the Swiftie level hype that omg she described a love song as Red and now she's describing it as Maroon because it was actually much darker than she originally thought it was, but lets be honest that really isn't as deep as we think it is. However, online stans aside, I do agree that Swift's lyrics are vivid with detail and paint all the colour for you to see the story play out in real time and that is credit to her skill as a lyricist. And, unlike many Swift songs that people rave over this isn't just a well told story but is actually a well crafted song with a really catchy and intense chorus that makes you stand up on edge. I do spend a larger portion of the run time than I want waiting to get back to the chorus but that is because it is so good. (8)

Anti-Hero- I absolutely despise how tik tok batey the chorus and the baby line are and I hate how they fucking work and get stuck in my head all day as I scroll past a hundred videos of people describing themselves as the problem, Hi its me. And I've had a hundred conversations starting with "Gosh shucks what on earth could she mean saying shes a sexy baby how funny" again irritating to no end when that is literally the point. But, that bridge, breakdown and chorus end where Swift uses her vocals as an instrument for the first time in her life and it explodes into a mini sense of euphoria is genuinely enjoyable and it makes you think does Swift have to be so obvious with her attempts for virality. The lyrics are the same old Swift playing victim again for the hundredth time and the only interesting aspect being about her dream of her daughter in law which is an interesting part of fame and not being able to trust anyone. Overall, its the same level of Swift lead singles where they are passable enough to be overplayed, and enraging enough to start discussion. (6)

Snow on the beach- Do you think Lana is on this track only because if she wasn't the internet would be ablaze saying Swift copied Lana's style and Antonoffe collects his Antonoffe girls and just redoes the same thing with each one? Because I do as Lana is literally wasted and could have easily just been Swift pitched up slightly. Again, it feels like the behind the scenes productions seems are showing instead of making art they are making a well calculated focus group decision. Swift describes the magic of love when two poeple find it at the same time and it so rare and magical like snow on the beach, its really not that interesting lyrically and its more of a "vibe" song where you put it on and "vibe" for a bit. I love Lana for her Old Hollywood glamour and often sounding like a powerful yet hurt woman that you see in old movies taking a stand against oppressive men, erm, yeah, basically what I'm saying is here this is too cutesy for her usual level of nuance. Not for me. (4)

You're on your own kid- I'm sure many teenage girl finds this reassuring and supportive that Taylor Swift felt like she had to fight really hard to get where she is so they'll fight really hard to get where they want to get in life. For me, its a bit of an eye role, I'm a bit to old, a bit too sceptical and boring to think that I have any hopes that can be solved by a megastar telling me to work hard, but I will say this is a hundred times better than when Swift wrote exactly the same song on lover with The man. (4)

Midnight Rain- The autotune definitely jolted me awake but then realised it is the same song as usual, whether you like Swift seems to come down to how much you are invested in her narrative of which past lover she might be alluding to, how is swfit feeling today, and I know I sound like a pillock being on Swift album and wanting to hear something other than about Taylor Swift being Taylor Swift but it is like the reputation effect, she ahs more to talk about than how successful she is and how she lost love because she worked to get here. Like every song is about love or being Taylor Swift and I just simply don't care because without scrolling the internet to put the clues together on whether it Joe, Harry or Jake shes speaking about it just feels like a generic love song. Maybe if the production weren't just this dreamscape wallowing that is dredged in no melody, no interesting instruments no anything just computer generated atmospheric junk to vibe out to, and this goes for some of the previous songs too. (4)

Question...?- The opening "I remember" interpolating a much more fun and interesting album where Swift actually played with melody and different sound, oh the good old days. I'll give this song its due, I actually hate it, which is a stronger emotion than any of the previous couple of songs have given me... yay I guess. The one two beat delivery of the verses is infuriating like I'm being edged and teased at the same time, which unlike some is simply not my vibe. This is added to by the horn like beep beep that is just there in the background again feeling unfinished and irritating like a taunt of something more interesting flashing and hiding underneath this drab and dreary song about nothing. Its just Swift taunting a past lover for moving on and when she hasn't and she seems to be annoyed that when they were together he was just emotionally immature which obviously is annoying but again I don't care. (2)

Vigilante Shit- I don't know if I like this because it is finally a change of pace on a dredge of an album that needed a change of pace about five songs ago. Yes, it sounds like the worst from reputation, but what this album is really good at is making me appreciate the worst of reputation and lover where at least Swift has some swagger and personality and some colour. She's got that here. Maybe its a bit cringe but it is also the first time on the album Swift hasn't taken herself so seriously, its got a charm to it. And the way she sounds on the bridge is the best Swift has sounded for the whole album with a carnival esq flaire that adds a playful killer vibe that is manic and fun- I never believe Swift's "hard me" shtick but on the bridge I could definitely see her doing a tame Harley Quinn impression. (6)

Bejewelled- Before I listened to the album, I really didn't like this song with the awkward music video and that horrid tik tok bate "nice" that is begging to go viral so desperately that it worked. But it works better in the space of the album because it is actually a glimmer of a diamond in the rough. The production shines very aggressively sometimes over playing against Taylor Swift and fully stomping its vajazzle in your face like a 90s arcade game covered in glitter. But oh my god I'm gagging for anything over here after this album that I will take it willingly. Lyrically its just Swift telling me how good Taylor Swift is in the most aggressively childish way possible like at multiple times during the track you'll forget Swift is 30 odd not twelve. I still couldn't listen to this whole heartedly without writing this review so I've got to not get carried away, but it is nice to have some shimmer. NICE! (5)

Labyrinth- Almost the longest song on the album ,yet its got the lyric quantity of a post it note. We seem to only get to this length through Swift elongating very word as if she was trying to make the longest song known to man. I can safely say I am not falling in love again. (2)

Karma- Well, this is refreshing, a chorus on a Taylor Swift song, what is this 1989? A soft refreshing pop song about Taylor Swift getting back on all the people who have done wrong to her- thank the lord she has finally addressed the Kanye thing and finally told him how she will get her own back, finally. However, credit is due that I will actually remember this song as the chorus has some resemblance of a melody and this is a vaguely fun clap back song. I do hear the tik tok meme every time she sings the chorus but unlike other instances I don't feel like this was a deliberate tik tok ploy so I don't hate it as much, its kinda fun. Yeah, its breezy enough for me to enjoy it as nothing more than a fun Swift album cut. (6)

Sweet Nothing- I like it. It reminds me of I'm glad to have a friend one of the better tracks on Lover in surprisingly the same track list position as this. Its quaint like a summer thought or a walk home conversation where Taylor genuinely sounds happy and real like the pretence of her usual hard-man Taylor or childish-Taylor have been dropped and this is just authentically her. Its soft and sweet about a real love not the overly dramatic one she has spun throughout the album. The occasional jazzy horns is also a welcome surprise and give some life to the cute production with a lovely melody you can hum to. (7)

Mastermind- The chorus really has something interesting and tense and I really wish it went a bit further because it is on the edge of something epic. It really makes you stand up and pay attention but then drops it just as quickly. Its another Swift ego trip but for her final track she can have her little ego parade. Its mostly just fine and then she says that one line in the chorus and all the cringe of the verses disappear. Maybe with more listens it could be a favourite but right now the pulsing beat of the chorus is wasted as it doesn't go anywhere during the verses and loses all its tension. (5)