Switched on Pop - Taylor Constructs A Darker Reputation

Episode Date: November 16, 2017

Taylor Swift unveils a new, darker identity on her latest album "Reputation," and many have read the lyrics on her latest as not-so-subtle volleys in an ongoing celebrity feud. Still, a question remains: how does Swift cast this dark personality in music? Two songs offer evidence. Melodic drops and temporal gaps in "I Did Something Bad" signal the album's themes of descent and decay. On "Getaway Car," however, some of Swift's old songwriting tricks may betray her new persona. We also dug into Reputation and other great listener questions in our Reddit AMA. Featuring: Taylor Swift: • I Did Something Bad • Getaway Car • Trouble • Love Story • You Belong With Me • Bob Wills and the Texas Playboys - Away Out There • Imogen Heap - Hide and Seek • The Weeknd - Can't Feel My Face Learn more about your ad choices. Visit podcastchoices.com/adchoices

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It's free for iOS users. Welcome to Switch on Pop. I'm musicologist Nate Sloan. And I'm songwriter Charlie Harding. And today, Charlie, I would like to tackle a topic that might be kind of inevitable for us. Surely. Given that the second episode we ever did was about Taylor Swift. Yeah.

I feel like we came of age together in a way. You know, like we grew up together. 1989 was released just as we started this podcast. podcast and that album seems so significant in sort of turning a more critical eye onto the world of pop music in general. Right. So I feel like we are wedded to Taylor Swift. We're ride or die.

Until the end, we're going to be there. And of course... Or are we? And of course, Taylor Swift has just released her most recent album, Reputation. Yes. And I want to take this episode to explore two of the tracks on this album, not two of the singles actually. Okay. But two of the ones that kind of most interested me, the first being something bad. Oh, did you? And the other one being getaway car. Fun. But before we dive into

these two songs, I feel like we need to clear the air, organize our Zen rock garden a little bit here. Charlie, can I get a serious music bed, please? Absolutely. I've got one just for you. Sorry, I said serious music bed. Okay, we'll go darker. There we go. So I feel like we would be remiss if we didn't provide some context

for this discussion because it seems like when you're discussing Taylor Swift these days, there's a lot to contend with. There's a lot of controversy surrounding this performer. Right. And certainly with this album, a lot of people are reading things into it.

They're interpreting, for instance, lyrics on this album as being, say, rejoinders to Kanye West. Right. Who they were in a dispute over who said, honestly, I'm already losing the thread here, Charlie. Can you maybe explain exactly what went down between these two celebrities? Taylor Swift won an award. Kanye West interrupted and went on stage and said that Beyonce should have won that award. And then they had constant battles back and forth in the media, both through proxy and directly at each other. Right, but then there was this other thing where she said she didn't give him permission to be in his music video famous.

But then it turned out Kim Kardashian had recorded the conversation where she did give her permission. Oh yeah, that one too. Yeah. You can tell I'm really enthused. Yeah, we are not really the celebrity gossip hounds. We should be. No. But that's not all. there's not just the sort of celebrity controversy surrounding this album and the way that can be read into the lyrics. People are now reading this album in a queer light. Something actually I only know because one of our listeners wrote into us and explained that a lot of people are really excited about

interpreting this album as having a lot of coded queer messages because it doesn't specifically reference gender pronouns the way she might have in her earlier work. So there's like an ambiguity there that you can find more unstable meanings in. Yeah, one of our listeners, Lauren wrote us in one of her songs, she talks about how she doesn't want to be like a best friend. And the sort of questioning of having a crush and who that best friend is and what their gender may be has been a serious point of inquiry for the queer blogosphere. Exactly.

And again, thanks. Big shout out to our brilliant listeners for keeping us honest here. Now, pause the serious music for a minute. That's a lot to tackle there. I do appreciate some of the cultural commentary, especially on issues of imagery and appropriation, are definitely very interesting. I feel like, though, Nate, when I'm looking at most of the reviews about Taylor's newest album, they're really not at all interested in the music. And that might be appropriate. The album is about her identity, right out in front, right?

Yeah, it's called Reputation. Yeah. And the reality is, I have to say, I am just 100% not interested in the stories of her constant celebrity identity changing. It just feels unrelatable and distant and maybe also not really responsible in the sort of cultural moment that we're in. So all the sort of thinking about her identity, I don't know, I'm just, I'm kind of, I'm not interested. We might have to turn the serious music back on because here's where I diverge. Actually, this is something that we were a little at odds with in our last episode as well, because you, I think we're throwing shade at Taylor a little bit for projecting these inauthentic identities.

I want to investigate the identity that she's trying to express musically on this new album. I'm with you there. I am not interested in the media narrative of Taylor Swift's The Celebrity. I'm totally interested in checking out what's happening musically. I feel like that's what we do well. Okay, great. So we're hesitant partners here. this mission. No, no, I'm in, I'm in. Okay, you're in. So what is the identity here? It's a bad

person. I don't know how else to say it. Whoa, cool. Yeah, this is something we haven't really encountered in the Taylor Swift oeuvre before. This is a little menacing, I think. I think maybe heard a little bit of that in like trouble, but yeah, this is definitely a darker track than her usual. That's a great point, Charlie. I think this song has a clear connection to trouble in that they're both produced by drum roll, J.K., it's not surprising at all, Max Martin

and Shellback in this case. So definitely some continuity there. You're right, maybe not totally new, but I think this is a little even a darker spin than on, say, a song like Trouble. Well, yeah, because it's kind of flipping the script, right? You are trouble, now she's basically saying, well, now she's

trouble. Right, yeah, exactly. Okay, let's rewind. Okay, jump from the chorus to the beginning of this song because as you mentioned, we're going to hear some real Taylorisms here, let's call it. Okay, okay. I never trust a narcissist, but they love me. Nice strings.

So I play them like a violin and I make it look oh so easy. Play them like a violin. I guess the strings is very smart. So let's just look at this verse for a moment because I think there's a lot of fun stuff going on. And the one that you immediately notice was the same one I did. What's the first sound we hear in this piece? You call that a pizocato violin, plucking the violin rather than bowing it. Yes, very nice. Ooh, way to bring in the correct terminology, Charles. A pizicado violin, plucked violins and then

just like clockwork, she says. Play it like a violin. Yeah, so a beautiful example of text painting at the outset of this piece. Yeah. But then let's listen even closer to those violins. Okay. So they're affected in an interesting way. They definitely have a slight saturation or distortion to them and a probably sort of invisible side chain, which is basically where the volume drops out occasionally. Usually the volume dropping out in relationship to a kick drum. So a kick drum can be better heard. These violins are sort of dropping out at these random moments without anything in between them. Right. Okay. Great technical explanation, which I wouldn't have been able to make. My experience listening to this was, it sounds glitchy almost. Yeah, glitchy is a good, yes. Like there's something wrong with the recording. You know, if you were, like, if you're listening to a record, maybe it was skipping or something.

Right. It's almost like these strings are decaying before your ears. Huh. Yeah, yeah. And some of the other sounds they introduce in the first verse do something similar, like this baseline that follows the introduction of the violins. It also has this glitchy. staticy sensation. Yeah, right, right. The volume is dropping in and out, definitely.

It's interesting, that bass actually does remind me a bit of the big Max Martin hit from the last album, Blank Space. It has that sort of just like thick slug kind of sound that just like runs throughout. But here you're right. On top of that same sort of timbre, it also has this weird affected glitchiness. Right. And what to make of these glitchy, staticy, decaying sound? I mean, certainly in the context of reading this album as the bad Taylor, the evil twin Taylor.

Her reputation is decaying. Yeah, exactly. It's like crumbling a little bit. Right, right. And in this song, what's so cool is that she's embracing that, I guess. She's like really stepping into that role wholeheartedly. And then if we jump to right before the chorus, I think this theme of decay is continued in the song. because right before the chorus we are actually confronted with a void, with the vast expanse of nothingness.

Let's listen. Oh, that is an amazing moment. That is an eternity in pop years. Yeah, I mean, like everything's fading to gray and washing out. You can actually hear the stereo image open up and it feels like you're descending into a whole, a total abyss. It feels pretty daring to me. I mean, time in pop music is like square footage. in New York real estate, it is valuable. And you got to really, every second is a fortune.

Yeah. So to have a full two measures, I mean, that's what we're talking here. We're talking eight beats of just kind of nothing is pretty bold. And I think, well, hold on, hold on. This is not nothing. This is a beautiful moment of this sort of wobbly synthesizer. I think that like wobbly that it picks up almost feels like the actual auditory version of the decay of the strings earlier. Like if you put them on top of each other, they would fit together. True. Okay. Thank you for the correction.

Not nothing. It made the invisible thing that was happened earlier. It made it come alive and you feel that like, whoa, ww, blah, blah, and it's all going to fall apart. That's right. That's totally right. Can we agree that it's a bold choice? Bold choice. Okay.

And then for this next. moment of decay. This one is a little more cerebral, perhaps, but I think it's a kind of rhythmic decay. And it happens in the bridge. And I have to say, this is confession time. Part of the reason I picked these two songs in particular is because they've got great bridges. Yeah, we both have a soft spot for the bridge, for the middle eight, and these two both deliver. I like the bridge. Let's jump to the bridge of this song, a very witchy bridge. All right. This is a very Max Martin bridge. Oh wow, that is so rewarding.

Right, another vast open space before the final chorus, which I just love. It reminds me actually a lot of the technique that Max Martin did on the weekends track on Can't Feel My Face. The bridge is actually the same as, I think here it's the same material as the pre-chorus. So you're getting the same material, but it's sort of recontextualized, where like the energy is actually dropped out of it. And then where you would think it's going to build up to the chorus, it kind of even drops even further down into nothingness, where here you're getting some of that earlier material,

that like gray washed out sound and adding in these 808 clap sounds to both. build anticipation and also like create this feeling of dissent and it actually gets so big and reverberated that you think you're like going to just completely fall apart and then all of a sudden it just gets cut off like all of that reverberation and all that big open sound just silence and then chorus i love it the metaphor of descent or what i was saying decay perhaps yeah totally appropriate this is the theme again and again whether it's in the the literal kind of decaying strings at the beginning. And now I'm thinking also that moment in the chorus where her voice literally descends.

Yeah. Over and over and over and like, who goes going down and down. Can we talk about that moment for a second? Oh, you want to talk about that moment? Yeah. Yes, we can. So I had someone write in yesterday on our Reddit AMA. Why does that moment work so well?

Oh, really? Yeah, yeah. Particularly when she says, if I could. The line is, and I do it over and over and over again if I could. I could. So satisfying. I agree, anonymous. It's so satisfying.

Writer, you are so right. Such a great moment. So can I give you a quick analysis of it? Please. What I figured out, it's all about her melodic phrasing. And Taylor is so good at melody. So in the chorus, what she does is she has this sort of A part, B part, and C part. The first line, they say I did something bad.

A phrase. Then why is it feel so? good, B phrase. She goes back to the A. They say I did something bad. She does a slight variation, sort of like a B prime, but why is it feel so good? She changes the rhythm on it. She's good at making those little alterations just to give us something fresh and not get bored.

The line, and I do it over and over and over again, is totally new melodic phrasing. We're getting this, as you pointed out, this descending melodic, vocal. Another great example of text painting. She would do it over and over and over and over and over. The over and over and over is a melodic sequence, which she repeats again and again descending down. And you think it's going to land somewhere. And rather than landing with a thud, she lands with this, and if I could, she extends in sort of this very lazy sort of way, the if I could. And I think that what's so powerful about that moment is that it's the variation on the variation it's taking us really far away from the main melodic phrase that we open with and then of course she gives it to us immediately after

it just felt so good and so when she says that she takes us back to one of the main phrases just an amazing example of songwriting where she's giving us these established themes making variations on them and maintaining our interest by pulling us just as far away as we possibly can go and then bringing us right back in. I'm totally persuaded and would only add that that final moment, if I could, is also a smear over the blue notes, a chromatic note.

So that's like a very dark tone, especially at that moment. Super dark. Yeah, I love it. Okay, we have now explored the dark descent and decay present on this album. Let's go to another version of this kind of, evil twin Taylor Swift in the song Getaway Car after the break. Convier to your passion in a

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Sorry, I don't think I've ever upset you so much on the show as with that offer. You know, we're nearly 75 episodes in, and that might just be. the end. Getaway car. Charlie, this melody has not left my brain for probably a single second since I started listening to it. That's my point. Like, I went in honestly from all of the media that I read about this album before it was out with really low expectations. I've been playing it in the background a bunch and man, there is some catchy stuff. Like just good pop songs, well written, really good hooks. And this is definitely one that stands out above them all. Totally agree. Let's take this one from the top. Let's just spin it from the first verse.

Cool. It's beautiful. It's beautiful. Is it appropriate to say it kind of sounds like someone took out of the woods and then hung out of the woods and then hung out with the sisters from Haim for a bunch of time and then got back together with Jack Antonoff and recorded the follow-up. Yeah, no. And I think there are other moments on this album that you can point to as being perhaps very influenced by Lord. Certainly when she sends her voice down to its lower registers. Oh, yeah, yeah, yeah.

Taylor Swift is really masterful at assimilating everything that's happening in the popular music landscape and incorporate it into her sounds. Yeah, I mean, and then there's, I sort of, I hinted at it, like there's the image and heap vocoder sound from hide and seek. Which you say Oh, that you only meant Well, well Cause you take

Which is elsewhere on the album as well Yes, and I think in some ways We're now in the Antonoff You know world rather than the Max Martin world With this track Yeah I love that there are these parallels For instance, we talked about text painting

In the beginning of I Did Something Bad Yeah Where she sings about playing someone like a violin And we're hearing violins There's the sound in this sort in this song, Getaway Car, that I will try pathetically to recreate that sounds like, wow, wow, wow, wow, wow, wow. You know what I'm talking about.

Yeah, yeah. We'll play it. And I was kind of trying to make sense of that sound because it seemed to be significant somehow. And then at some point I was listening and I heard this word siren stuck out to me that she sings in the chorus. This is so funny because I've been really getting into synthesis and sound production, sound design stuff recently. and I immediately hear that as a like a really cheap 80s drum tom sample. They're like do do do do do do it,

it's like do do do do do do kind of thing. But it's so affected it in the background that it kind of takes on its own texture. And it definitely has a siren like sound. Perhaps this is an instance of reading in what you want to hear. That's what we like to do. It's so fun. But given the subject of the song that what I immediately hear when this song It's just like a highway at night and the white lines of the central divider going by.

Yep. And then the sirens kind of distant, you know, somewhere behind you kind of coming in muffled. I don't know. It just like perfectly creates this feeling of like suspense and forward motion. Totally. Even the sort of 80s synth stuff is really reminiscent of the soundtrack from the movie Drive. Right. Neon lights late at night, drive in the fast car.

on the LA Highway. Absolutely. Yeah, all that imagery is totally appropriate to the sounds, which is like a very 80s thing anyways. But yeah, I think by taking that synth-tom sound and muting it and making it sound like it's in the background, it definitely does have that distant siren quality. And I had this quote that you shared with me in mind

that Jack Antonoff, I think in turn got from Bruce Springsteen, which is the way to make songs is blues in the verse, gospel in the chorus. Yeah, yeah, yeah, yeah. Let's hear that gospel chorus. Okay. I love this. In particular, the use of the high hat here, you know, there's a lot of people who have rightly made these connections between Taylor's place on the charts and the dominance of hip hop right now.

And these high hats definitely do feel descendant of like trap high hats. These really fast, you know that kind of sound? Yeah. Which is everywhere. I mean, it definitely comes from like Atlanta hip hop from. I think the 90s, but you can hear it in progressive house music. You hear it all over the pop charts. It feels like they're taking a sound which is very popular

and kind of has like gone across genre to a certain degree and then use it really specifically for a very particular effect, which is it feels like it speeds the whole thing up. Right, like in an old country song, you would hear like a constant beat on the snare. Like a t-t-t-t-t-t-t-t-t-t-t-t. Almost hear the whistle boys. Kind of thing. To get like that train rolling sound.

Yes, she is. Coming around that old curve now. The BPM of this song is pretty slow. It's a slow track. But by throwing in these high hats that are moving at a breakneck speed, you have this contrast of the like the late night sky in the background, that sort of backdrop. You feel like you're moving really quickly along in this car.

I get that from those high hats. Oh, I love it. I honestly don't have a lot of deep analysis here. I just find this. You just love it. I just find it so unbearably moving and kind of nostalgic. And out of all the tracks on this album, I think maybe lyrically this one is the most exciting to me

because I think it really captures this sense of pastness and sort of like a wistful looking back. And that seems almost tragic because you already know what happens, how this getaway is going to end, how all getaways end, right? Oh, yeah. It never ends well, does it? You never get far. I mean, and obviously we should mention this seems to be a metaphor for a relationship.

But one that's really elegantly constructed, I think. And then when we get to, I might start to tear up here. I don't know. I've just, this song really moves me. And I want to go again to that special place, the bridge here. Wait, wait, wait, hold on. Pause. Wait.

Before you leave the chorus. Yeah, yeah, yeah. There were sirens in the beat of your heart. Doesn't it sound like that ambulance sound? I mean, I heard it as a drum beat. is this like amalgamation of ambulance or or police siren plus heartbeat. I know I might be stretching way too far, but. Yeah, right?

She says, right in the getaway car. There were sirens in the beat of your heart. I feel like we've heard that sound coming into the chorus. Huh. Those sirens in the heart. Yeah. That sound that I heard as a siren and you heard as a drum, you mean? Yeah, exactly.

Yeah. Cool. Okay, it's time. We got to go to the bridge. Buckle your seatbelt. No, this is over. Episode done. No more car puns. Can't handle it. Okay, there's two of my favorite things happen in this bridge. I know. I know, I know, I'm so excited to share this with you. Okay, step one, there's a modulation. Oh, yeah. Right? Which we went into like a great, absurd amount of depth in our Lady Gaga episode. If people missed it, it's a great piece about modulation. But she jumps up a key. She does nothing good starts in a getaway car in the end of that.

chorus and then boom we modulate up yes ascends a whole step it's great and what's the other thing you love more than anything in the world moving out of this bridge section she uses a chord that we call the minor four which is the saddest chord of all time right when she's singing it's no surprise i turned you in because those traders never win yeah um so she flips on her partner turns on the person's stealing the getaway car and does so in a moment of real sadness. This is the constant Beatles cadence that we hear in every single time the Beatles or like any 60s song had something sad to say they would use this chord. Yeah and if you want to play Charlie like a violin just throw in a minor four chord. Oh yeah totally melt into a puddle. Puddle. The bridge of

this song besides having these two great tricks of the modulation and the the surprise minor four chord. No. I mean, I think this is a moment where music and lyrics are just working together so well because this bridge is also the moment that is kind of the reveal of this song. Yeah, yeah. This is the moment of the song where she does to her current partner, what she did to her former partner. This is the moment where she leaves. And by the end of this chorus, as you point out, she is on her own. She's driving the getaway car by herself. This makes the modulation really relevant because it's a reveal, a sort of turn to the song. So you need something very powerful to stand out. And it does so in a way, which I kind of feel like we haven't heard from

Taylor since more of her country records. It's a very more singer-songwriter approach, but a really appropriate here narratively to show, hey, things have changed. Don't we get modulations like this in Love Story and other tracks like that? Totally. And I think if we were going to label this in the kind of taxonomy we came up with in our episode about modulation, we would call this a storytelling modulation. That is one that's motivated by the lyrical narrative of the song. Yeah, yeah, yeah. Rather than a diva modulation where you go higher to show off your vocal chops. Well, we don't know if she can really do that. But anyway. And then we make it to... Did you catch that shade? Yeah, yeah, I wasn't going to acknowledge it, though.

Sorry. And then we get to the outro of this song, which I just want to bring up because You know, something we, I think you and I were probably doing from the moment the first track off this album came out, we were looking for the T-Drop. I was, yeah, yeah, definitely. For this erstwhile melodic motive that we identified as like present in all of Taylor Swift's music, regardless of the changes in identity that she was going through. Yeah, quick review of the T-Drop. What is it? Quick review of the T-Drop. Let's, we can go back to a song like, you belong with me, where we hear it in the chorus.

Yeah, it's this melodic movement that she does over and over again. It's so powerful that we labeled it the T-drop. Or I think because you also called it the Swiftian suspension. I actually called it the Swiftian sigh, but yes. The Siftian sigh. That might be another, an alternative title. And, you know, I think the only instance that I've found, though I really encourage our listeners to come up with other ones if they hear them.

I'm sure it's buried in there. The only one I can identify so far is in the outro of this song, Getaway Car. So when she says, Dying, dying. Actually, an even better one said goodbye in. Yeah, that's it. There it is.

But it's not really highlighted. You know, it's only kind of thrown into the outro of this song. Why do we talk about these favorite little melodic moments? For me, it really connects to this whole question of composed authenticity. It's well known that Taylor, in her public image, is constantly trying to reinvent herself, and that's what a lot of the media narrative is about this album.

I think musically, what she's trying to do is move her sound along, but to always maintain a certain Taylor Swift sound. She obviously really tried to break those expectations by releasing the single, Look What You Maybe Do, which didn't have a typical sort of melodic hook. But throughout this album,

we're getting moments of way past Taylor with bridges like this with little melodic motifs. I don't know what's going on the studio, but I would be surprised if there isn't a conscious effort to make sure that this still sounds like Taylor, even though it has a really different sonic landscape. And they're going to do that by giving us melodic material or harmonic material, which is something we might have heard eight years ago, but in an entirely new context with strange synthesizers and wobble bases and ambulance siren drums. trying to keep us connected even while things are changing. That's a wonderful note to end on because it captures both the sort of plasticity of identity

that Swift is exploring throughout her career, essentially again, like trying on these different identities and then discarding them. And you can look at that and say, oh, that's all artificial. Or you can look at that and say, oh, that's kind of reflective of how all our identities work. There's definitely areas where it is problematic, again, with especially some borrowing of images, which are just straight of appropriative and other places where she's putting on different characters of herself.

And there is definitely a spectrum of appropriateness her. I think what you mean is like, who has the privilege to take on and off different identities and who doesn't? Absolutely. Yeah. Maybe sometimes she indulges that privilege a little insensitively, I think is certainly fair.

Definitely. I mean, there's a difference between like playing a different version of yourself, which is, you know, playing with your own sense of identity and then trying on other people's, that the T's who might not have the same kind of agency. And that's where she really falls into some trouble. And, you know, something I definitely don't endorse.

Right. And yet at the same time, we can see these certain musical strains running through all of those different identities, which does suggest some constant, some baseline, which will be honestly exciting to continue to explore into the future. Yeah, yeah. I remain fascinated by this artist, you know? Absolutely. Musically, like I said, this album, I'm still digesting it.

Like, I've listened to it through a couple of times. There's a lot of hooks on there, a lot of things that really caught my ear. I think it's sonically really consistent, possibly by working with just really two, three main producers on the whole thing, people who she's really worked with intimately in the past. And I am compelled by those things, which are more of those threads than the moments of identity separation. But yeah, it's so interesting to see what will evolve out of her body of work.

This is clearly an important statement that she's trying to make. It's landing in really different ways in the media. But I'll just say for me, just from a musical point of view, I'm really interested. I agree. So we're agreed. We'll continue four years from now for the next album. Oh my gosh. That sounds exhausting.

I don't know if I can deal with the variety of think pieces in between. But yeah, we'll definitely cover the next one. Just put it in the G-Cal for me, okay? Just so it's blocked out. You're scheduled then. Switched on Pop is produced by me, Nate Sloan. And me, Charlie Harding. We are edited by the incredibly talented Bill Lance.

Our design is done by Luke Harris. And big shout out to our intern, Olivia Wood, who scheduled our recent Reddit Ask Me Anything, Reddit, A lot of really awesome questions came in from you all. Thank you. And we'll share a link to that if you want to know more about the inner workings of SwitchDop. We'll put that on our Twitter,

which is at Switchdonpop and on Facebook, Facebook.com slash switch. And of course, if you have questions, you can write us anytime, contact atSwitch.opopop.com. We'll see you in another two weeks. And as always,

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