The Rayflector

R.I.P. Taylor

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Rachel DeBoe, Web Editor

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Guess who’s back!

Yes, Taylor Swift has returned after the incredible success of her album “1989” in 2014. Her return is surrounded with gossip and drama in the celebrity world, which has clearly inspired her musically.

This is because, simply put, “Look What You Made Me Do,” Swift’s hot new single, is a diss track.

Those who keep up with celebrity news know about the running feud between pop icons Taylor Swift and Katy Perry as well as the “Famous” controversy involving Kanye and Kim West. This was obviously at the center of the focus for Swift’s edgy new track.

The song emits a sly vibe right from the jump with an opening that has been compared to the style of Panic! At The Disco.

The first verse sets the mood of the track evenly.

“I don’t like your little games/Don’t like your tilted stage/The role you made me play/Of the fool, no, I don’t like you/I don’t like your perfect crime/How you laugh when you lie/You said the gun was mine/Isn’t cool, no, I don’t like you,” Swift sang.

Upon first listen, this verse makes the listener believe they know exactly what is to come for the rest of the song.

That thought would be wrong.

During the pre-chorus, the song builds beautifully, preparing the listener for a satisfying drop…

Which never comes.

After a perfect first verse and lift in the pre-chorus, the hook falls flat, sampling Right Said Fred’s “I’m Too Sexy” in a childish, petty, and repetitive attempt at vengeance. Not only is it disappointing, but it also dramatically shifts the tempo to be similar to Sir Mix-a-Lot’s “Baby Got Back.”

Even so, the track gains its credibility with the second verse and pre-chorus (because, honestly, that build up is fantastic) before repeating the chorus.

The third verse and bridge are interesting. Swift uses lyrics reminiscent of 2014’s “Blank Space” against a faded melody.

“I don’t trust nobody and nobody trust me/I’ll be the actress starring in your bad dream,” Swift sang.

Then came the bridge, which really got the world talking.

“I’m sorry, the old Taylor can’t come to the phone right now. Why? Oh! ‘Cause she’s dead,” Swift said.

The line was delivered just enough edge for it to be poignant and enough snark for it not to feel corny.

All in all, Swift’s new song, while it is a successful attempt toward taking aim at the intended insult, fell flat musically due to its unsatisfactory chorus.



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R.I.P. Taylor