Headline : Taylor Swift Busts out the Quill Pen for ‘The Tortured Poets Department: The Anthology’

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The last time Taylor Swift released an album, Midnights, she surprised everyone by dropping a 3 A.M. Edition later that night, loaded with new songs. But it turns out that this time, 3 hours was too damn long for her to wait. At 2 A.M. last night, with no warning at all, Swift announced that her brand-new (and excellent) The Tortured Poets Department was secretly a double album all along. She had another 15 songs ready to go, adding up to 31 in all. (That’s right, 13 backwards.) She really is drilling down on the whole “I love you, it’s ruining my life” thing. 

Like the Midnights 3 A.M., the second half of Tortured Poets: The Anthology is more acoustic, more delicate, more Quill Pen, much more Aaron Dessner. If you preferred 3 A.M. to the proper Midnights (“The Great War,” “Bigger Than The Whole Sky”) you might also prefer the second hour of the Anthology. It’s nearly all hushed piano ballads, without Part One’s synth-pop production, reaching all the way into homegrown Folklore/Evermore beauty. More tortured. More poetic. “Peter,” “Cassandra,” “The Prophecy” — these are some of the most powerful songs Swift and Dessner have crafted together.

Taylor hasn’t given Part Two its own individual title — yet. But it’s got its own sonic personality. Even the Jack Antonoff tunes sound kinda Dessner, just as the Dessner songs on Part Two sound kinda Antonoff. (One of this creative trio’s strengths is that these two producers never step on each other.) Yet both sides of the Anthology fit together with a surly edge that Taylor has never flaunted like this before. The closest thing to a flirty line on either half is the moment in “I Hate It Here” when she sings, “Tell me something awful/Like you’re a poet trapped in the body of a finance guy.”

The four bonus tracks (from the physical albums) fit together, almost as a suite, framing Part Two like bookends. “The Black Dog,” “The Manuscript,” “The Albatross,” “The Bolter” — they’re stark piano narratives about different kinds of mad women. They’re all looking for different kinds of revenge, whether the world views them as romantic ideals (“The Manuscript”), sexual toys (“The Bolter”), curses (“The Albatross”), or quasi-stalkers whose friends really need to confiscate her phone for the night (“The Black Dog”).  Editor’s picks Every Awful Thing Trump Has Promised to Do in a Second Term The 250 Greatest Guitarists of All Time The 500 Greatest Albums of All Time The 50 Worst Decisions in Movie History

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