By: The DSJ Staff
In celebration of Taylor Swift's newly released 10th studio album, the DSJ Staff teamed up to review the musical masterpiece of Midnights.
Photo Courtesy of Taylor Swift & Republic Records
“Lavender Haze” - Rose Caisley '26
Photo Courtesy of Taylor Swift & Republic Records
As the first track on Midnights, “Lavender Haze” is a decent opener to Swift’s newest album, complete with a catchy pop beat and mesmerizing vocals. The title harkens back to the show Mad Men and the 1950’s, where the phrase “Lavender Haze” was used to describe the state of being in love. But the sentimental chorus aside, the song retreads Swift’s same old themes of dating under the scrutiny of the public and the paparazzi, breaking very little new ground.
Note for review: About women because lavender is a gay symbol and Miss Taylor “gay pride makes me, me” Swift knows this - Love, Crystal Wang '25
“Maroon” - Crystal Wang '25
Photo Courtesy of Taylor Swift & Republic Records
This song is sapphic, anyone who tells you differently is either blind or lying or both. The lyrics of this song is what really makes it stand out, the way that Taylor included all red colors in her descriptions of love only to end it with the color maroon is lyrical genius.
“Anti-Hero” - Crystal Wang '25
Photo Courtesy of Taylor Swift & Republic Records
The chorus on this song has me genuinely dying or maybe it’s just “It’s me. Hi. I’m the problem, it's me.” For a song about the insecurities she has dealt with throughout her life, this song is incredibly catchy. There is so much that can be analyzed in the lyrics of this song but if that’s not your vibe, you can still put it on repeat, it is just that catchy.
“Snow on the Beach (feat. Lana Del Rey)” - Lena Smith '24
Photo Courtesy of Taylor Swift & Republic Records
The Lana Del Rey feature just makes me want to hear what she might have done with the concept on her own album. The song, while being a pleasant blend of soft production and endearing lyricism, gets easily overshadowed by the glaring absence of an artist who could have added more intrigue to one of the more solemn tracks on Midnights. Echoing similar issues with the HAIM feature on “no body no crime,” I’m left itching for collaborations where I don’t have to strain my ears to hear the other artist, or their influences.
“You’re on Your Own, Kid” - Crystal Wang '25
Photo Courtesy of Taylor Swift & Republic Records
Guess who is ready for childhood trauma? Me. And Miss Taylor Swift apparently. We get taken through a journey with this song and it ends with a complete flip of the narrative, giving us a new view on what being on your own means. Also this bridge had me in tears.
“Midnight Rain” - Jin Xie '24
Photo Courtesy of Taylor Swift & Republic Records
A soft mixture of alternating vocal effects, “Midnight Rain” is in my humble opinion, one of the most experimental track of this album. The unique pitch changes throughout the entirety of this song left me feeling as if this technique decision was intentional so as to convey a reflective atmosphere as Swift explains/looks back at leaving the relationship mentioned -- which only makes the song even more stylistically brilliant. This entire track pulls you into a world with an unforgettable aura tinged with maturity and acknowledgement of sorrow over how said relationship ended.
“Question…?” - Abby Paras '24
Photo Courtesy of Taylor Swift & Republic Records
Many people have said that this album feels like a collection of songs from all of Taylor Swift’s previous eras. If that’s true, then this is definitely one written around the 1989 period. It features a sample of her hit “Out of the Woods”, and could have easily been a bonus track off the album. It has much more of an 80’s synth feel than the other songs on the album and while the melody and lyrics leave me wanting more, the sound is fun.
“Vigilante Shit” - Rose Caisley '26
Photo Courtesy of Taylor Swift & Republic Records
Vigilante Shit, the eighth track on Midnights, sports a distinctly different sound than the rest of the albums peppy pop numbers. With a unique and darker feel too it, it stands on its own as a worthy successor to “Bad Blood” and all of Swift’s other juicy revenge songs.
“Bejeweled” - Crystal Wang '25
Photo Courtesy of Taylor Swift & Republic Records
This song belongs in the Lover album, it perfectly encapsulated the theme of it and the rhythm. I could not tell you what this song was about but I will say that it is catchy as all hell and gives a huge serotonin boost to my brain.
“Labyrinth” - Jin Xie '24
Photo Courtesy of Taylor Swift & Republic Records
A breathless journey of self-realization, this track follows through Swift's internal grappling with falling in love and eventual arrival to tranquil contentment and healing. A hauntingly beautiful track, "Labyrinth" showcases sonic characteristics that leaves you ruminating among the themes of lost hope for love, and regaining said hope.
“Karma” - Lena Smith '24
Photo Courtesy of Taylor Swift & Republic Records
Say what you want about Midnights on the whole, but Karma hits the sweet spot of Swift’s pop sound. Even for a fan who prefers the subdued indie notes of Folklore and Evermore, this track has an instantaneous magnetism that doesn’t let go; the pulsing beat and snappy lyrics blend so well that it is sure to get stuck in your head.
“Sweet Nothing” - Abby Paras '24
Photo Courtesy of Taylor Swift & Republic Records
When I saw Taylor Swift’s promo pics for Midnights, I thought her album was going to have the vibes of “Sweet Nothing”. This is probably my favorite track off the album and the fact that the melody, lush harmonies, and sparse instrumentation remind me of late 60s and early 70s pop, albeit with a darker sound, absolutely helps that. Part of this track feels almost unfinished, like it’s a demo, but another part just feels simple, and, well, sweet.
“Mastermind” - Lena Smith '24
Photo Courtesy of Taylor Swift & Republic Records
Back in her 2010 track “Dear John”, Swift described one of her relationships as ‘living in a chess game’ of someone else’s making; in 2022, she wields power, forging a new love “all by design,” with a brilliant “checkmate” move. Swift defies the image of a passive, feminine lover, declaring that “women had to do it this way, / ‘Cause we were born to be the pawn in every lover’s game.” On top of a dreamy synth base, “Mastermind” is a refreshing countermove to the idea that once we ‘fall in love,’ the rest of the matter is out of our hands.