New Zealand’s foremost music critic, ie. me, returns to the fore – to offer their opinions on IMPORTANT WHITE LADY Taylor Swift.
You could forgive yourself for mistaking ‘Look What You Made Me Do’ for sounding like a Dresden Dolls song, circa. 2002, when you wore way too much make up and thought knee-high socks were the bee’s knees and you cried in your bedroom because the popular girls in choir were mean to you and you used MSN Messenger and had a NEOPETS.
You could even forgive yourself for mistaking parts of LWYMMD as Gwen Stefani at the height of her netballer-cum-superstar powers, specifically that chant: IT’S BANANAS B A N A N A S!
You could forgive yourself for hearing hints of Regina Spector, too — Regina Spector is like Dresden Dolls, but less.
This all makes sense, right? Tay Tay came of age – like yours truly, the Greatest Critic Ever – in the mid 2000s when Amanda Palmer wasn’t this massive shitfire and Regina Spector wasn’t primarily known for theme music. You’ve got to remember: Dresden Dolls were COOL. They are like an overload of estrogen and hormones and puberty and angst. Swift’s currency for the good part of her first two albums deals in just this currency — except countryfied. LWYMMD is an unabashed homage to these forgotten gods — ruling women of the mid 2000s who have gone AWOL (more like AOL, amiright). It’s stupid. It’s dumb. I mean – Taylor can’t come to the phone. SHE’S DEAD. A