Evermore (estilizado en minúsculas ) es el noveno álbum de estudio de la cantante y compositora estadounidense Taylor Swift . Fue lanzado el 11 de diciembre de 2020, a través de Republic Records , menos de cinco meses después del octavo álbum de estudio de la cantante, Folklore . Evermore fue un producto espontáneo de la extensa colaboración de Swift con sucoproductor de Folklore , Aaron Dessner , con quien desarrolló una química creativa.
Cada vez más | ||||
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Álbum de estudio de Taylor Swift | ||||
Liberado | 11 de diciembre de 2020 | |||
Grabado | Julio-diciembre de 2020 | |||
Estudio |
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Género | ||||
Largo | 60 : 38 | |||
Etiqueta | República | |||
Productor |
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Cronología de Taylor Swift | ||||
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Solteros de Evermore | ||||
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Como secuela temática de su predecesor, Swift llamó a Evermore el "disco hermano" de Folklore , siendo ambos álbumes sorpresa anunciados horas antes del lanzamiento. Evermore es un esfuerzo de rock alternativo , folk-pop y rock de cámara que combina arreglos invernales de guitarras seleccionadas con los dedos , pianos suaves y cuerdas escasas. Su tema se basa en la narración impresionista y la creación de mitos , que comprende historias de amor, matrimonio, infidelidad y dolor. Las bandas estadounidenses Bon Iver , Haim y The National contribuyen con las voces invitadas. Evermore recibió la aclamación universal de los críticos musicales, muchos de los cuales elogiaron la dinámica de sus personajes, la producción experimental y el compañerismo con el folclore . Muchas publicaciones colocaron a Evermore en sus listas de mejores álbumes de fin de año de 2020.
El álbum alcanzó el número uno en Argentina, Australia, Bélgica, Canadá, Croacia, Nueva Zelanda, Portugal, Reino Unido y Estados Unidos. Se inauguró en la cima del Billboard 200 , convirtió a Swift en la primera mujer en la historia de los Estados Unidos en acumular ocho debuts número uno consecutivos y rompió el récord mundial Guinness por la brecha más corta entre dos álbumes número uno de un acto femenino. Su sencillo principal " Willow " se convirtió en el séptimo sencillo número uno de Swift en el Billboard Hot 100 de EE. UU. , Y su segundo en 2020 después de " Cardigan ", convirtiéndola en el primer acto en debutar simultáneamente en la cima de las listas Billboard 200 y Hot 100 dos veces. Swift también obtuvo los récords por la brecha más corta entre dos álbumes número uno de Australia y la mujer más rápida en recolectar seis álbumes número uno en el Reino Unido. Republic Records informó que se vendieron más de un millón de copias de Evermore en su primera semana a nivel mundial.
Fondo
El 24 de julio de 2020, durante los bloqueos de COVID-19 , Swift lanzó por sorpresa su octavo álbum de estudio, Folklore , con una gran aclamación de la crítica y un éxito comercial. Se convirtió en el álbum más vendido de 2020 y obtuvo cinco nominaciones en la 63a Entrega Anual de los Premios Grammy , ganando el Álbum del Año . [1] El 25 de noviembre de 2020, se lanzó en Disney + una película documental de conciertos titulada Folklore: The Long Pond Studio Sessions . Detallaba el proceso creativo detrás de Folklore con las interpretaciones del álbum en su totalidad. [2] El 10 de diciembre de 2020, tres días antes de su 31 cumpleaños, Swift subió nueve fotos a Instagram, que juntas formaron una imagen de cuadrícula de la espalda de la cantante. En otra publicación inmediata en todas sus cuentas de redes sociales, anunció que su noveno álbum de estudio, titulado Evermore , se lanzará a la medianoche. Ella reveló la lista de canciones y agregó que un video musical para su canción de apertura, "Willow", se estrenaría en YouTube junto con el lanzamiento del álbum. [3] [2]
Refiriéndose a las regulaciones de cierre a la luz de la pandemia de COVID-19 en curso , Swift escribió: "Todos ustedes han sido tan cariñosos, solidarios y atentos en mis cumpleaños, así que esta vez pensé en darles algo. También sé esta temporada de vacaciones será una experiencia solitaria para la mayoría de nosotros y si hay alguno de ustedes que recurre a la música para lidiar con la desaparición de sus seres queridos como yo lo hago, esto es para ustedes ". [2] Antes del estreno del video musical "Willow", Swift comparó Evermore con el otoño y el invierno, en contraste con la primavera y el verano de su predecesor. [4]
Concepción
Para decirlo claramente, no podíamos dejar de escribir canciones. Para tratar de decirlo de manera más poética, se siente como si estuviéramos parados en el borde de los bosques folclóricos y tuviéramos una opción: dar la vuelta y regresar o viajar más adentro del bosque de esta música. Elegimos adentrarnos más profundamente ... Nunca había hecho esto antes. En el pasado, siempre he tratado los álbumes como épocas únicas y pasé a planificar la siguiente después de que se lanzara un álbum. Había algo diferente con Folklore . Al hacerlo, me sentí menos como si me fuera y más como si estuviera regresando. Me encantó el escapismo que encontré en estos cuentos imaginarios / no imaginarios. Me encantó la forma en que dieron la bienvenida a los paisajes oníricos, las tragedias y las historias épicas de amor perdido y encontrado en sus vidas. Así que seguí escribiéndolos.
- Rápido sobre los orígenes de Evermore , NME [3]
A pesar de lanzar Folklore , Swift continuó trabajando de forma remota con Dessner, quien le enviaría sus pistas instrumentales, a las que ella escribiría la letra. Espontáneamente, estas sesiones dieron como resultado un proyecto que era una extensión natural del Folklore . [5] Esta extensión pronto asumió su identidad individual, dando lugar a Evermore . Dessner declaró que "no necesitaba hablar mucho sobre estructura o ideas ni nada" con Swift, y consideró a Evermore como una "avalancha extraña" a partir de Folklore . [6] En comparación con su predecesor, el desarrollo de Evermore fue un proceso más experimental, durante el cual Swift y Dessner no se sometieron a ninguna limitación. [5] En una entrevista con Zane Lowe , Swift declaró que Evermore le dio una sensación de "una especie de conclusión tranquila y una especie de serenidad extraña", después de publicar Folklore . [7]
Escritura y grabación
Swift adoptó el estilo de composición que se deriva del folclore, el lirismo arraigado en la ficción en primera persona . [6] Al igual que su predecesor, Evermore también es un producto de la colaboración remota y la comunicación virtual, [7] y se registró en total secreto. [5] Aaron Dessner produjo todas las pistas del álbum excepto "Gold Rush", que fue producida por Jack Antonoff . [8] Todas las pistas de Evermore , excepto " Cowboy like Me ", se grabaron en Long Pond Studio, durante la realización de Folklore: The Long Pond Studio Sessions , el documental de Swift de 2020. [5] [8]
Después del lanzamiento de Folklore , Swift escribió dos canciones, "Closure" y "Dorothea", para Big Red Machine , la banda de Dessner con Justin Vernon , pero terminaron en Evermore . Para celebrar el folclore , Dessner creó casualmente una pista instrumental "Westerly", que lleva el nombre de la ubicación de su casa en Rhode Island . Una hora más tarde, Swift escribió "Willow" en la pista y lo envió de regreso. [6] Ella escribió la canción principal "Evermore" con Joe Alwyn (acreditado bajo el seudónimo de William Bowery) y luego se la envió a Vernon, el líder de Bon Iver, quien agregó un puente . Dessner se dio cuenta de que estaban creando un álbum hermano de Folklore solo después de que el dúo escribiera más de siete canciones. Dessner compuso "Tolerate It" en un piano en10
8compás y se lo envió a Swift, quien conjuró una escena en su mente al escuchar la pista, y envió la pista con la letra terminada. Dessner dijo que "lloró cuando escuchó por primera vez" la letra de la canción. [5]
Swift viajó al estudio de Dessner en el estado de Nueva York para filmar Folklore: The Long Pond Studio Sessions . Él narró, "jugamos toda la noche y bebimos mucho vino después de la charla junto al fuego, y todos estábamos bastante borrachos, para ser honesto". Una vez que se completó el rodaje, Swift se quedó en Long Pond durante la noche para grabar con Dessner y Antonoff. A la mañana siguiente, Swift se acercó a Dessner en su cocina con "'Tis the Damn Season", que ella escribió en medio de la noche, y se la cantó. [6] Dessner citó "'Tis the Damn Season" como una de sus obras favoritas, y que podría haber permanecido como música instrumental, pero en cambio, la "increíble habilidad narrativa y musical de Swift lo tomó e hizo algo grandioso". . [5]
" No Body, No Crime " se inspiró en la "obsesión de Swift con los podcasts / documentales sobre crímenes reales ". [9] Ella auto-escribió la canción en una guitarra de puente de goma y le envió a Dessner un memo de voz de la misma, después de lo cual él comenzó a producirla. Swift tenía ideas específicas sobre cómo quería la canción, incluida una función invitada de Haim . Las hermanas Haim grabaron en Los Ángeles y se lo enviaron a Swift, que estaba en Long Pond. Los riffs de armónica y guitarra de la canción fueron interpretados por Josh Kaufman, quien también tocó la armónica en " Betty " de Folklore. JT Bates tocó la batería en "No Body, No Crime", y también contribuyó con la batería en "Dorothea". [5]
Rara vez he tenido este tipo de química con alguien en mi vida: poder escribir juntos, hacer tantas canciones hermosas juntos en tan poco tiempo. Inevitablemente, creo que seguiremos estando en la vida personal y artística de los demás. No sé exactamente cuál será la próxima forma que tomará, pero ciertamente continuará. Creo que esta historia, esta era, ha concluido, y pienso de una manera tan hermosa con estos discos hermanos.
- Aaron Dessner sobre la colaboración con Swift en Evermore and Folklore , Rolling Stone [5]
Dessner y su hermano gemelo, Bryce Dessner , enviaron a Swift algunos de los temas instrumentales que hicieron para su banda, The National. Uno de ellos fue lo que se convertiría en " Coney Island ". Swift y Alwyn escribieron la letra y la grabaron con su voz. Después de escuchar la maqueta, los hermanos Dessner observaron que la canción se siente muy relacionada con el National, y imaginaron a Matt Berninger (vocalista principal del National) cantándola y Bryan Devendorf (baterista del National) tocando la batería. Aaron Dessner informó a Berninger, quien estaba "emocionado" con la idea. La banda se reunió, Devendorf tocaba la batería, mientras que su hermano Scott Devendorf tocaba el bajo y el piano de bolsillo; Bryce Dessner ayudó a producir la canción. [5]
" Marjorie " fue un precursor instrumental de "Peace", la decimoquinta pista de Folklore . De este último avión no tripulado está presente en de la antigua puente . El ritmo de acompañamiento de "Marjorie" se compuso a partir de un "Allovers Hi-hat Generator", un software desarrollado por el productor de Minnesotan Ryan Olson, que ha sido utilizado en muchas canciones por Big Red Machine. El instrumento toma cualquier sonido y lo divide en muestras, y las regenera en patrones musicales aleatorios. Dessner repasó los patrones, eligió sus partes favoritas, las hizo un bucle, lo convirtió en un instrumental y se lo envió a Swift, quien le escribió "Marjorie", una canción sobre su abuela materna y cantante de ópera, Marjorie Finlay . Swift también envió una carpeta de viejos discos de ópera de Finlay a Dessner, quien probó algunos de ellos en la canción. "Justo donde me dejaste" y "Happiness" se escribieron días antes de que Evermore estuviera terminado. Dessner había estado trabajando en la composición de "Happiness" desde 2019, pensando que sería una canción para Big Red Machine; sin embargo, Swift admiró sus instrumentales y terminó terminando sus letras. "Right Where You Left Me" también fue para Big Red Machine, antes de que Swift lo escuchara y escribiera la letra. [5] [10]
Vernon estaba profundamente involucrado en Evermore more than Folklore . Tocó la batería en "Cowboy like Me" y "Closure", la guitarra y el banjo en "Ivy", y contribuyó con los coros en "Marjorie". Para "Closure", procesó la voz de Swift a través de su modificador vocal Messina, [5] que distorsiona su timbre suave en un gruñido robótico. [11] "Cowboy like Me" se grabó en Scarlet Pimpernel Studios, ubicado en el Reino Unido, propiedad de Marcus Mumford , el cantante principal de la banda de folk rock inglesa Mumford & Sons; Mumford también proporcionó coros en la canción. [12] En "Ivy", Dessner agregó campanas de trineo para invocar emociones orientadas al invierno, coincidiendo con las imágenes invernales de la canción. Añadió intencionalmente "una nostalgia invernal" a la mayor parte de la música de Evermore , inclinándose hacia la idea de que el álbum se manifiesta en otoño e invierno, ya que Swift le contó cómo el folclore se siente como primavera y verano para ella, mientras que Evermore es otoño e invierno. Dessner opinó que mezclar las 17 canciones del álbum era una "tarea hercúlea" y que el ingeniero de sonido Jon Low pensó que no terminarían el álbum a tiempo. [5]
Música y letras
Evermore se ha descrito como una secuela, cara B , segundo capítulo o registro complementario de Folklore . [13] La edición estándar de Evermore dura una hora y consta de 15 pistas, mientras que la edición de lujo agrega dos canciones extra. [14] El álbum incluye apariciones especiales de tres bandas estadounidenses: Haim , the National y Bon Iver en " No Body, No Crime ", "Coney Island" y "Evermore", respectivamente, y coros de Marcus Mumford en " Cowboy como yo ". Evermore fue escrita y producida por Swift, Aaron Dessner, Bryce Dessner y Antonoff, con créditos de producción adicionales para BJ Burton y James McAlister en "Closure", y créditos de escritura adicionales para Joe Alwyn (bajo el seudónimo de William Bowery) en " Problemas de champán ". , "Coney Island" y "Evermore", y Justin Vernon de Bon Iver en "Evermore". [8] [15]
Composición
Evermore es una roca alternativa , [16] cámara de roca [17] y folk-pop [18] álbum con países elementos, [12] en expansión en de su predecesor mínimo , [19] indie-folk [20] sonidos; [21] sin embargo, Evermore es más suelto y más experimental en sus cadencias sónicas. [20] [1] El álbum se caracteriza por su núcleo acústico [21] y su ambiente invernal, [22] [21] que consta de arreglos de repuesto, [22] melodías de combustión lenta, burbujeo, [23] guitarras acústicas punteadas con los dedos , balanceo guitarras eléctricas, [16] pianos suaves [24] y sombríos [12] , sintetizadores cálidos y aturdidos, mandolina , [16] cajas de ritmos vibrantes , [22] cuerdas exuberantes, [25] capas sutiles de melotrones , flautas, trompas, violonchelos, [21] la voz meliflua de Swift y los coros vaporosos [24] empapados en una atmósfera brumosa. [dieciséis]
Rolling Stone escribió que Evermore profundiza la visión del folk gótico de Swift. [11] El Daily Telegraph dijo que el álbum no tiene sentido de tempo o urgencia, partiendo de los tempos adaptados al estadiode los trabajos anteriores de Swift. [24] Según el crítico Tom Hull , mientras Swift permanece atento a los "detalles de la producción", Evermore sigue al Folklore abandonando el "pop glitz" en favor de la "simple canción" debido en parte a que la pandemia cambió el enfoque de Swift de las arenas a los ambientes hogareños. [26] Stereogum lo describió como "un álbum suave, meditativo y conscientemente silencioso" de " música restauradora de cantautores de la vieja escuela". [27] En la pizarra 's opinión, Evermore tiene un ambiente más amplio, con un montón de descanso, a diferencia de la ' maximalista - minimalismo ' de Folclore , que tenía 'capas sobre capas de líneas instrumentales restringidas'. [28]
Letras y temas
Evermore es un álbum íntimo [29] fuertemente arraigado en la narración elaborada en primera persona desde perspectivas en tercera persona , [20] estudios de personajes [16] y creación de mitos narrativos , como una extensión del Folklore . [11] Se adentra más profundamente en el mundo imaginario que Swift construyó con Folklore , [13] mezclando hechos y ficción. [29] Ambos álbumes comparten un común escapista concepto, [25] pero a diferencia de Folclore ' más s introspectiva naturaleza, romántica, Evermore está liberando, negrita, sin inhibiciones, [20] [29] lúdico, [30] impresionista , [21] y en tono confesional, [22] profundizando en las ideas de Swift sobre el amor y el dolor de los adultos. [31] Las canciones generalmente rumian [21] temas de amor prohibido, negligencia romántica, perdón, [24] matrimonio e infidelidad, [32] que giran en torno a un conjunto diverso de personajes (como los del folclore ) interconectados a lo largo de las pistas del álbum. como parejas en conflicto, amigos despreciados y mujeres complicadas. [22] Según Neil McCormick , también hay narrativas "en las que los hombres pueden ser tan despreciados como las mujeres", tomando " giros juguetonamente noirish ". [24]
Similar a su álbum hermano, Evermore contiene varias referencias a la naturaleza, paisajes y objetos en el cielo , como la luna creciente , el amanecer, cometas , cielos ambarinos, precipicio , sauce , trébol y hiedra . [33] Los giros de frase característicos de Swift [20] y los juegos de palabras también abundan en el álbum. [18] Variety observó que "calidez en medio de la frialdad" es su motivo lírico recurrente. [21] American Songwriter opinó que Evermore tiene a Swift principalmente exudando "la antología 'infelices para siempre' de los matrimonios que salieron mal". [29] Slate también llamó al álbum una antología, que "enfatiza su salto de la autobiografía a canciones que son pura ficción o líricamente simbólicas en formas que no actúan como romanos en clave ". [28] Stereogum etiquetó el álbum como "ficción observacional". [27] Pitchfork señaló que Swift sigue siendo un vocalista versátil y expresivo y un letrista "prolijo" al imitar el sonido de "endorfinas inquietas y apresuradas ... para magnificar los momentos tristes y pequeños". [12] Spin comentó las "emociones humanas extremadamente complejas" que Swift desenreda en Evermore con "precisión y devastación". [18]
Canciones
Evermore abre con " Willow ", un escalofrío popular cámara [34] canción de amor [21] impulsado por guitarras escogidas [19] junto con glockenspiel orquestaciones, indie-Folk, tambores programados, y un coro aliento. [31] "Los problemas de Champagne" es una triste [35] balada [31] con amplio, [12] lo-fi , oompah acordes de piano que se entrelazan con la guitarra arpegios y voces del coro. [19] Representa a una novia difícil cuyas luchas personales interrumpen su relación romántica, [13] la llevan a rechazar la seria propuesta de su amante [19] y asumir la responsabilidad del desamor. [29] "Gold Rush" es una canción pop de cámara ágil [36] [11] con tambores, trompas, violines, cambios giratorios en el tempo [31] y un coro de ensueño. Sus versos frenéticos son coplas entregadas en un ritmo palpitante sobre ritmos persistentes, [20] [37] con una pista falsa en su intro y outro hechos de voces en capas. Mientras expresa celos e inseguridad hacia un tema atractivo, la canción describe el enamoramiento del narrador por el tema en un ensueño , con referencias a California Gold Rush . [31] [38]
La cuarta pista, "'Tis the Damn Season", es una canción navideña que da un giro a la balada festiva. [16] [23] Ve a una narradora llegar a su ciudad natal Tupelo de vacaciones, donde se encuentra con su antiguo amante y termina en la cama con él a pesar de saber que la llama reavivada no la llevará a ninguna parte. [22] [16] La canción está construida alrededor de un riff de guitarra eléctrica, y su narrador se revela como un personaje llamado Dorothea, más adelante en el álbum. [29] Crónica de una mujer joven en una relación de edad, [37] "Tolerate It" es la agonía interna del protagonista resentido que busca terminar la relación desequilibrada con su pareja despreciativa. [31] [29] [27] La balada [ 23] de construcción lenta [38] está guiada por notas apagadas de piano y tiempos tensos de sintetizador . [23] [39] Apertura con sirenas de policía, [37] el vibrante [31] y cinemático [13] "No Body, No Crime" es una canción country , [20] pop rock , [29] y country rock . [16] Con las armonías de Haim , cuenta una historia macabra [31] de una mujer llamada Este asesinada por su marido infiel a favor de su amante ; el narrador, amigo de Este, se venga asesinando al marido de Este. [13]
"Happiness", la melancólica séptima pista, es una balada ambiental [11] posterior a la ruptura / divorcio [40 ] con una delicada disposición de sintetizadores nebulosos, hi-hats , violín, bajo, [40] órganos , [19 ] piano y un zumbido altísimo . [27] Canaliza un torrente de conciencia , [36] en el que el narrador empatiza con el sujeto, [25] contempla la escisión y se disculpa por perder el hilo de los hechos, afirmando que volverá a encontrar la felicidad. [31] [23] The folk- tinged [38] "Dorothea" es una canción desde la perspectiva del sujeto masculino en "'Tis the Damn Season", que permanece en Tupelo mientras su amante de la escuela secundaria, Dorothea, se muda a Los Ángeles para seguir una carrera en Hollywood. [13] [29] Él narra sus historias de fondo de ella, como un baile de graduación que se saltó y sentimientos de separación, [31] y convence a Dorothea, famosa en la televisión, de que regrese a la simplicidad de la vida rural. [16] Está dirigido por un idílico piano honky-tonk , [11] [36] pandereta , guitarras [31] y notas del registro más bajo de Swift . [38] La canción ha sido comparada con " Betty " debido a sus perspectivas similares. [29]
"Coney Island", la novena pista, es un dúo de rock alternativo, [16] vals [18] e indie-folk [22] con Matt Berninger del National. [31] La canción representa la nostalgia suburbana [13] y recuerda los recuerdos de una pareja en Coney Island, Nueva York ; [31] La melodiosa voz de Swift contrasta con el murmullo de barítono de Berninger . [24] "Ivy" es una canción popular [19] con la voz elástica de Swift [36] y un coro alegre, [31] que documenta la infidelidad de una mujer casada, [29] [25] sobre un arreglo de banjo [29]. , guitarra escogida , [19] trompeta y las suaves armonías de Vernon. [12] Transmite su tentación por su amante secreto [19] y las consecuencias realistas que pueden obstaculizar su aventura, [29] utilizando una metáfora de enredaderas de hiedra que crecen sobre una casa de piedra para representar su apego profundamente arraigado a su amante. [38]
Swift canta sobre dos estafadores "buscadores de oro" en la undécima pista, [28] " Cowboy like Me ", que se enamoran mientras frecuentan complejos turísticos, tratando de impresionar a los ricos beneficiarios. [29] Es una alternativa, [31] country, [12] folk rock , [17] y melodía de blues , [20] con guitarras silenciosas, riff de armónica, [35] mandolina, piano, [31] lap steel , [ 21] y los coros de Mumford. [20] "Long Story Short" es una canción de rock indie con infusión de pop con un gancho post-estribillo entusiasta , [31] [36] guitarras explosivas, cuerdas, ritmos nítidos de batería en vivo y caja de ritmos . Swift recauchuta Reputation (2017) en la canción, [36] [28] resumiendo los peores momentos de su vida [35] [22] y su redención personal. [31] La conmovedora " Marjorie " [21] detalla el dolor y la culpa de Swift por su abuela y cantante de ópera, Marjorie Finlay , [20] quien falleció cuando Swift tenía 13 años. [31] Su letra consiste en los consejos de Finlay a su nieta, así como en los recuerdos y arrepentimientos de Swift. [12] La suave producción samplea la voz de soprano de Finlay sobre sintetizadores vibrantes, [13] [35] cuerdas pizzicato , [19] drone, pulso , violonchelo, [22] y un arreglo de teclado pulsante, [12] terminando con un outro etéreo. "Marjorie" es similar a la decimotercera pista de Folklore , "Epiphany", que rinde homenaje al abuelo de Swift. [29]
"Closure", la decimocuarta pista, es la despedida de Swift de su tema, [12] una respuesta a su solicitud egoísta, [13] sutilezas falsas, [31] y simpatía pretenciosa. [19] Es una canción popular electroacústica [28] e industrial [17] caracterizada por su inusual5
4 compás , [19] y una distintiva, [20] producción resbaladiza de metales , cuerdas, [31] crujidos electrónicos , percusión estruendosa, [19] y tambores sintetizados. [13] La canción principal, "Evermore", es una balada de piano que se convierte en un puente emocionante después de un cambio de tempo, donde Swift se une a mitad de camino con el falsete característico de Justin Vernon [20] en una llamada y respuesta . [18] Sus letras ambiguas hablan del punto más bajo en la vida de uno y su comprensión de que el dolor no será permanente, concluyendo el álbum con una emoción de "esto también pasará". [36] La edición de lujo del álbum incluye dos pistas extra. "Right Where You Left Me" retrata el destino desgarrador de un amor congelado en el tiempo, sobre la acústica de ensueño de guitarras vibrantes. [41] [42] De manera similar, "It's Time to Go" es una canción sombría sobre el conocimiento del narrador de cuándo terminar una relación, como una amistad, que presenta historias de divorcio y pérdida de una carrera soñada por un individuo no apto; la canción contiene referencias a la venta de los masters de los primeros seis álbumes de estudio de Swift . [42] [43]
Dirección artística
Following the lush, ghostly, woodland aesthetic of Folklore, Evermore takes upon a wintry theme, a yuletide version of the former's cottagecore.[29][22] Time stated that Folklore is a muted, autumnal palette of sounds and feelings, whereas Evermore is its winter companion with lingering sadness and regret.[44] While Folklore adapts a grayscale monochrome, Evermore employs colors.[45]
The cover artwork of Evermore shows Swift in a barren field,[44] facing away from the camera, looking over bare trees in the distance, which reflect the last glow of an autumnal sunset.[33] She is seen standing at the edge of a forested area, whereas on the cover of Folklore, she was seen inside a forest.[45] Her hair is styled in a French braid, as she wears a single-breasted, brown and orange checked flannel coat designed by Stella McCartney, who revealed that it was a sustainable piece from her "23 Old Bond Street Limited Edition Collection", priced at $2,875.[46][47] The braid has 31 turns, which has been connected with how the album was released two days before her 31st-birthday.[48] The Wall Street Journal opined that Swift's "every aesthetic decision is deeply intentional and inevitably influential", and her hairstyle in the artwork is "more than just a braid", a poignant statement.[49] Stylist called the hairstyle "messy-yet-chic".[50] Adam Reed, UK editorial ambassador for French beauty company L'Oréal, admired Swift's braid and described it as "simple, supernatural and timeless".[50]
Lanzamiento y promoción
Evermore was released on December 11, 2020 (two days before Swift's thirty-first birthday) to digital music and streaming platforms only.[51] It is a companion record to its predecessor, Folklore, which was launched less five months prior; both of the projects are surprise albums, announced 16 hours prior to their releases at midnight.[52][53] Evermore marked the second time Swift abandoned her traditional month-long rollout to release an album, after Folklore.[54] Evermore was released in CDs on December 18, 2020. It was released as a cassette tape on February 21, 2021 and as a vinyl on May 28, 2021.[51] The deluxe album's bonus tracks, "Right Where You Left Me" and "It's Time to Go", which were formerly physical-exclusive, were released to streaming services on January 7, 2021.[42]
On December 14, 2020, Swift appeared on Jimmy Kimmel Live!.[55] On the December 15, 2020, episode of Howard Stern's Sirius XM radio show, English singer-songwriter Paul McCartney revealed that Swift originally decided to postpone the release of Evermore by one week to respect the original December 11 release date of his eighteenth studio album, McCartney III; upon learning this, McCartney decided to release his album on December 18 instead so that Swift could move forward with the rollout of Evermore as initially planned.[56] Three six-song compilations consisting of tracks from both Folklore and Evermore, titled The Dropped Your Hand While Dancing Chapter, The Forever Is The Sweetest Con Chapter, and The Ladies Lunching Chapter (all stylized in all lowercase), were released to streaming platforms on January 21, January 27, and February 4, 2021, respectively.[57][58]
Singles
"Willow" was released as the lead single of Evermore, alongside the album itself, on December 11, 2020.[59] The song was accompanied with a music video directed by Swift.[60] The single reached number-one in Australia, Canada and the United States. According to Billboard, three of the album's tracks were sent to different radio formats—a rollout that was adapted for Folklore as well. "Willow" impacted US adult contemporary and pop radio formats on December 14 and 15, 2020, respectively;[61] "No Body, No Crime" was sent by MCA Nashville to US country radio stations on January 11, 2021,[62] aside "Coney Island", which was promoted to US adult album alternative (Triple A) radio on January 18, 2021.[63] Before their radio impacts, "No Body, No Crime" had reached number 2 on the Billboard Hot Country Songs upon the album's release, while "Coney Island" peaked at number 12 on the Hot Rock & Alternative Songs chart.
Recepción de la crítica
Aggregate scores | |
---|---|
Source | Rating |
AnyDecentMusic? | 8.0/10[64] |
Metacritic | 85/100[65] |
Review scores | |
Source | Rating |
AllMusic | [30] |
And It Don't Stop | A–[66] |
The A.V. Club | A–[67] |
Entertainment Weekly | A[35] |
The Guardian | [16] |
The Independent | [23] |
NME | [20] |
Pitchfork | 7.9/10[68] |
Rolling Stone | [11] |
The Sydney Morning Herald | [13] |
Evermore was met with widespread acclaim upon release, with several critics admiring its kinship with Folklore and Swift's expansion of her musical boundaries.[69][70] On Metacritic, which assigns a normalized score out of 100 to ratings from publications, the album received a weighted mean score of 85 based on 29 reviews, indicating "universal acclaim".[65]
Distinguishing Swift as an unrivaled songwriter, Brodie Lancaster of The Sydney Morning Herald found Evermore traveling deeper into the singer's fictitious narratives, and praised the depth and variety of its characters.[13] NME critic Hannah Mylrea opined that Swift pushes her indie reinvention further in Evermore, terming it a "freewheeling younger sibling" while Folklore is the "introspective, romantic older sister"; Mylrea thought Evermore is looser and more experimental, expanding on its predecessor's sonic palette.[20] In congruence, American Songwriter designated Folklore as the "archetypal older sister—a careful, yet hopeless romantic" whereas Evermore is the "bold, scrappy younger one", with the latter being a yuletide evolution of the former's sound.[29] Maura Johnston, writing for Entertainment Weekly, asserted that Swift "levels up" on Evermore by taking musical risks, and dubbed the sister albums a career-high for the singer.[35]
Spin critic Bobby Olivier thought that the "career-redefining" album finds Swift at her prime, joining "the pantheon of songwriters who consistently deliver despite unimaginable expectations". He regarded Evermore as a stronger work than Folklore.[18] Annie Zaleski of The A.V. Club also chose Evermore over Folklore, and noted that the former continues the latter's "universe-building" with stronger songwriting and greater sonic cohesion.[22] Writing for The Guardian, Alexis Petridis thought Evermore continues Swift's departure to alternative rock from mainstream pop, and compared it to her country-to-pop transition in Red (2012); he added that it proves her ability to switch genres easily.[16] Calling it heartfelt and ruminative, McCormick in The Daily Telegraph lauded the album's emotional songcraft and unhurried tempo, remarking that its songs are not for stadiums.[24]
Patrick Ryan of USA Today gave plaudits to its mystical instrumentation and escapist lyricism, and stressed that Evermore is not a vestige of Folklore, but rather a sister that reinforces Swift's strengths.[53] In her Rolling Stone review, Claire Shaffer saw the album embracing new genres and ambitious storytelling, and welcomed Swift's new artistic direction.[11] The Independent writer Helen Brown deemed the songs haunting and contemplative, and likened their storytelling to a campfire setting.[23] Jason Lipshutz of Billboard stated that the album is more progressive and audacious than Folklore, although posing as a sequel at first. He explained that Evermore explores the complications of adult love more extensively than its predecessor, and flaunts Swift's boldest and richest songwriting.[71]
Variety critic Chris Willman praised the album's subliminal production and Swift's agile vocals, and underlined its impressionist style of storytelling that converges only after multiple listens.[21] Stereogum's Tom Breihan named it an expertful "full-on winter album" populated by subtle growers shrouded in a sedative atmosphere.[27] Jon Pareles of The New York Times commended its diligent sound and poised lyrics, and noted that it contains more character studies than Folklore.[19] In less favorable reviews, Chris Richards of The Washington Post found the album overlong and rejected the notion of categorizing Swift's 2020 works as indie.[72] Mikael Wood of the Los Angeles Times felt that Evermore is Folklore's leftovers and "simply repeats its trick", but picked "Tolerate It", "Gold Rush", "Champagne Problems", "No Body, No Crime" and "Dorothea" as highlights.[17]
Year-end lists
By the time Swift unveiled the album, most publications had already issued their year-end best albums lists for 2020.[73] Evermore was included on lists published after December 11, 2020, topping those by USA Today, NJ.com, and Variety critic Chris Willman.
Critic/Publication | List | Rank | Note | Ref. |
---|---|---|---|---|
The Boston Globe | Top 12 Best Pop Albums of 2020 | N/A | Folklore also listed | [74] |
Chorus.fm | Top 30 Albums of 2020 | 6 | Folklore ranked second | [75] |
Complex | Waiss Aramesh's Albums of 2020 | 8 | Folklore ranked third | [76] |
Edwin Ortiz's Albums of 2020 | 7 | |||
Good Morning America | The 50 best albums of 2020 | 7 | Tied with Folklore | [77] |
Herald Sun | The Best Albums of 2020 | N/A | Folklore also listed | [78] |
Financial Times | Best 10 Albums of 2020 | 9 | Tied with Folklore | [79] |
KIIS-FM | Tanya Rad's Favorite Albums of 2020 | N/A | Folklore also listed | [80] |
Metacritic | The 40 Best Albums of 2020 | 22 | Folklore at 8 | [81] |
Best Albums, by Year 2020 | 45 | Folklore at 12 | [82] | |
Best of 2020: Music Critic Top Ten Lists | 20 | Folklore at 3 | [83] | |
Metro Times | Best New Music of 2020 | 2 | Tied with Folklore | [84] |
NJ.com | The 50 Albums That Saved Us From 2020 | 1 | Tied with Folklore | [85] |
Our Culture Mag | The 50 Best Albums of 2020 | 4 | Tied with Folklore | [73] |
The Philadelphia Inquirer | Top Pop Music Albums | 6 | Tied with Folklore | [86] |
PopSugar | The 50 Best Albums of 2020 | 17 | Folklore at 16 | [87] |
Rolling Stone | Rob Sheffield's Top 20 Albums of 2020 | 5 | Folklore ranked first | [88] |
Slate | The Music Club, 2020 | 2 | Tied with Folklore | [89] |
South China Morning Post | The Best Albums of 2020 | 2 | Folklore ranked first | [90] |
Star Tribune | Jon Bream's Top 10 Albums | 5 | Tied with Folklore | [91] |
USA Today | The 10 Best Albums of 2020 | 1 | Tied with Folklore | [92] |
Variety | Chris Willman's Best Albums of 2020 | 1 | Tied with Folklore | [93] |
Wales Arts Review | Our Favourite 50 Albums Of 2020 | 9 | Tied with Folklore | [94] |
Yahoo! Entertainment | Lori Majewski's Top 10 | 6 | Folklore ranked first | [95] |
Premios y nominaciones
Organization | Year | Award | Result | Ref. |
---|---|---|---|---|
Guinness World Records | 2020 | Shortest Gap Between New No.1 Albums on the U.S. Billboard 200 (Female) | Won | [96] |
Desempeño comercial
Republic Records reported Evermore sold one million copies in its first-week worldwide, marking Swift's third album in 16 months to do so, and her eighth consecutive studio album to achieve it; all her studio albums, except her 2006 debut album, moved a million copies in their opening weeks.[97] Aided by Evermore and Folklore, Swift was 2020's top streamed artist on Amazon Music across all genres.[98] International Federation of the Phonographic Industry (IFPI) named her the best-selling soloist and female artist of 2020, and second overall.[99]
United States
Evermore debuted at number one on the Billboard 200 and remained atop the chart for three weeks. The album moved 329,000 units, consisting of 220.49 million on-demand streams and 154,000 pure copies in its first week; it earned the biggest sales week for an album and biggest streaming week for a non-R&B/hip-hop album since her own Folklore. Evermore is Swift's second number-one album in 2020 and eighth consecutive number-one debut, making her the third female artist to collect eight number-one albums, behind Barbra Streisand (11 number-one albums) and Madonna (9). It was also the biggest sales week for an album since bundles and concert ticket offers stopped factoring. Billboard remarked that Evermore was not available in physical copies during its first week, and was supported by digital music and streaming platforms only. With Folklore charting at number three, Swift became the first woman to simultaneously chart two albums in the top-three since the chart's inauguration in 1963,[51] and the first act to have two albums move 100,000 units each in the same week since Prince in 2016.[100]
The time period between the number-one debuts of Folklore and Evermore was 140 days, breaking the Guinness World Record for the shortest gap ever between two chart-topping albums by a woman on the Billboard 200.[51][101] When Evermore climbed back to the top spot for its third week atop the Billboard 200, it marked the 51st chart-topping week of Swift's career, extending her record as the female artist with the most weeks at number one in the chart's history and tying her with Michael Jackson for the fourth-most weeks overall.[102] The album also topped the Alternative Albums chart, replacing Folklore from the top spot.[103] As of April 2021, Evermore has moved 1 million units in the US, of which 391,000 are pure sales.[104]
All of the album's 15 tracks entered the Billboard Hot 100 simultaneously, generating five top-40 hits. Evermore became Swift's third album to chart all of its standard tracks in the same week, following Lover (2019) and Folklore (2020). Swift became the female artist with the most Hot 100 hits in history with 128, regaining the record from Nicki Minaj. "Willow" landed at number one, scoring her seventh number-one single in the US, second number-one hit in 2020, and the third number-one debut of her career. It made her the first act in history to simultaneously debut an album and a single atop both Billboard 200 and Hot 100 charts at two occasions, following Folklore and "Cardigan" (2020).[105][106] All the tracks appeared on Hot Rock & Alternative Songs chart as well, except "No Body, No Crime" which debuted at number two on the Hot Country Songs. "Willow" placed first, giving Swift her second number-one hit on the chart, after "Cardigan". Due to eight tracks from Folklore remaining on the chart alongside the 14 from Evermore, Swift occupied 22 of the chart's 50 positions—the second most simultaneous entries in the chart's history, behind Linkin Park (23 entries). On Hot Alternative Songs chart, Swift claimed 16 spots led by "Willow", besting Machine Gun Kelly's former record.[103]
Despite its availability for only the last two weeks of 2020, Evermore became one of the top 10 best-selling albums of 2020. It landed at number eight on Rolling Stone's best-selling albums list, and at number 10 on Nielsen SoundScan's best selling albums of 2020 with 283,000 copies sold; its sister record, Folklore, was the top best-seller of 2020.[107][108] Following its vinyl release on May 28, 2021, Evermore broke the record for the biggest vinyl sales-week for any album in Nielsen history, with around 80,000—100,000 units of vinyl records sold.[109]
Other markets
In Canada, Evermore appeared at the top spot of Billboard Canadian Albums chart, yielding Swift her eighth Canadian number-one album, and her second in 2020.[110] The album spent three weeks atop the chart.[111] Every track from Evermore debuted on the Canadian Hot 100 simultaneously—Swift's third album to do so, after Lover and Folklore. All the tracks except "Closure" landed in the chart's top-50; "Willow" became her seventh Canadian number-one hit, with "Champagne Problems" at number 6, "No Body, No Crime" at 11, "'Tis the Damn Season" at 13, "Gold Rush" at 14, and "Tolerate It" at 18. With this, Swift amassed 30 top-10 hits and 131 total entries in Canada.[112]
In Australia, Swift achieved a "Chart Double" by occupying the top spots of both albums and singles charts, simultaneously. Evermore entered at number 1 on the ARIA Albums Chart, garnering her seventh chart-topping album. Collecting her second number-one album of the year 19 weeks after Folklore, Swift broke the record for the shortest gap between two successive number-one albums, surpassing the 25 weeks between Ariana Grande's Sweetener (2018) and Thank U, Next (2019).[113][114] "Willow" debuted atop the ARIA Singles Chart, accompanied by 11 other tracks from the album. It marked her seventh Australian number-one hit, and the second in 2020, following "Cardigan".[115] Evermore spent four consecutive weeks at number-one in Australia, tying with Folklore as her second longest-running number one album, behind 1989 (11 weeks at the top).[116]
In the United Kingdom, Evermore topped the Official Albums Chart for two weeks, initially in December 2020 and January 2021. It made Swift the fastest female artist to accumulate six number-one albums in the country (in eight years, 2012–2020), surpassing Madonna (11 years, 1997–2008), and the first female artist to score six chart-toppers in the 21st-century. The album is her second number-one album in 2020 after Folklore, establishing her as the first act to score multiple chart-topping albums in a calendar year, since David Bowie in 2016.[117][118] Evermore also topped the country's Americana Albums chart.[119] On the Official Singles Chart, "Willow" landed at number three and gave Swift her eleventh top-5 hit, while tracks "Champagne Problems" and "No Body, No Crime" arrived at numbers 15 and 19, respectively, increasing her UK top-20 hits total to 21.[120]
In Flanders, Evermore reached number one in its sixth week on the Ultratop 200 Albums chart, after debuting at number two. It marked Swift's fifth consecutive number-one album in the Belgian region.[121] In Ireland, the album reached its peak of number two on the Irish Albums Chart in its third week. It opened at number three in its debut week, marking Swift's sixth consecutive top-three album in the country; it was the most downloaded and streamed album of the week. Simultaneously, "Willow" also placed at number three on Irish Singles Chart, alongside tracks "Champagne Problems" and "No Body, No Crime" at sixth and eleventh spots, respectively, rising Swift's sum of top-50 hits to 38.[122][123]
"Willow", "Champagne Problems", "Gold Rush" and "No Body, No Crime" entered Singapore's Top-30 Singles chart, with the former reaching number-one.[124] In New Zealand, the album launched atop the Top40 Albums chart, while its tracks "Willow", "Champagne Problems", "No Body, No Crime" and "Gold Rush" charted at numbers 3, 24, 29 and 34 on Top40 Singles chart, respectively.[125][126]
Impacto
Following the release of Evermore, searches for plaid coats jumped 49% in one day. Google Trends data also showed a significant spike in searches for tartan toppers during the same timeframe.[127] Replicas of the flannel coat Swift wore for the cover artwork immediately sold out on fashion retail platform Farfetch.[128] Yahoo! Finance reported that, in less than 24 hours after the album's announcement, the audience interest in Swift spiked on Apple Music search engine.[129]
Swift's fast-succeeding release of Evermore after Folklore was met with praise. Variety compared the double-release to that of the Beatles[93] and U2, especially to the latter releasing Zooropa (1993) during the tour for Achtung Baby (1991),[21] while Rolling Stone dubbed it a "hot streak" reminiscent of Prince in 1987 and David Bowie in 1977.[88] Vulture stated that the news of another surprise album from Swift "came as a major shock", as she has been "the industry's most prominent loyalist to the pop-album rollout", who turns her carefully planned releases into "an art of their own".[54] Branding it a testament to her artistic dedication, Our Culture Mag praised Swift's ability to release an album on-par with its predecessor in a short time, while simultaneously re-recording her first six studio albums.[73] NJ.com thanked Swift for making the "miserable year" a little more endurable, and added that no other artist of her stature "created so relentlessly" in 2020.[85] The Sydney Morning Herald named her "the queen of pandemic productivity".[130]
Evermore and Folklore have been lauded as two of 2020's seminal albums. CNN named Swift among the celebrities who "lifted our spirits" during the COVID-19 pandemic.[131] The Times named her "pop star of the year" for putting out two albums that "won over new audience".[132] Billboard cited the sister albums as the most notable examples for how the pandemic veered music in 2020, and forced artists to amend their creative process, which in turn led their works to major success.[133] Arre wrote that Swift bottled the pandemic's cultural crisis in the two escapist albums, transporting listeners to "a simpler world whose sensibility is cottagecore instead of apocalyptic". It questioned the possibility of retrospecting on Evermore without reminiscing the pandemic, and added that future generations will get an idea of 2020 through the sister albums, which condense emotions "impossible to articulate".[134]
Lawsuit over album title
On February 2, 2021, Evermore Park, a fantasy theme park in Pleasant Grove, Utah, filed a lawsuit against Swift and her team for allegedly infringing its "EVERMORE" trademark, seeking to prevent Swift's further use of the word, and demanded "statutory damages of $2 million per counterfeit mark per type of goods or services sold" or a part of revenues from the use of the title, including legal fees. The park's counsel had sent a cease-and-desist letter to Swift's counsel on December 29, 2020, to which the singer's counsel declined to abide, writing in reply that: "If anything, your client's website traffic has actually increased as a result of the release of Ms. Swift's recent album which, in turn could only serve to enhance your client's mark".[135][136]
The park claimed that the title of Swift's album Evermore confuses consumers, and negatively affects the park's searchability. According to the court documents submitted by the park, the park's visitors enquired the staff about whether the album was a collaboration between Swift and the park, and that on the day Evermore was announced (December 10, 2020), the traffic on the park's official website surged by 330.4% in comparison to the previous day, affecting the park's "Google footprint". The lawsuit also mentions the park's merchandise and original music on streaming platforms under the "EVERMORE" trademark, claiming Swift's album has made them "harder to find".[135][136]
Swift's team denied the accusations in a letter filed in court, referring to the suit as "baseless". The letter stated that "it is inconceivable that there is any likelihood of confusion between your client's theme park and related products and Ms. Swift's music and related products", and claimed that the park's merchandise, such as "small dragon eggs, guild patches, and a small dragon mount" are not similar to the products sold on Swift's website. In a Billboard statement, Swift's spokesperson called the suit "frivolous" and disputed its "true intent", highlighting a Utah Business report, according to which, the park's founder and CEO Ken Bretschneider "has had at least five lawsuits filed against him and the Evermore group by major construction companies, claiming they are owed between $28,000 and $400,000 in construction, mechanic and landscaping fees. Smaller subcontractors who did work on the park have also filed more than 20 construction liens on the Evermore property".[135][136]
On February 24, 2021, TAS Rights Management (Swift's trademark and copyrights company) countersued the theme park for allegedly infringing Swift's songs "Love Story", "You Belong with Me" and "Bad Blood" by regularly using them in their performances without a proper license. The management claimed that the park "blatantly ignored the numerous notices from BMI and opted instead to continue to benefit from the free and unauthorized public performance of [the songs], despite actual knowledge of the liability and substantial penalties imposed by the Copyright Act to protect artists", and pointed out that Bretschneider reached out to BMI "seeking a retroactive license that would cover all performances from 2018 through 2021" after anticipating a lawsuit from Swift's management.[137]
In March 2021, Swift's spokesperson reported that, as a resolution, both parties have decided to "drop and dismiss their respective suits without monetary settlement".[138]
Listado de pistas
No. | Title | Writer(s) | Producer(s) | Length |
---|---|---|---|---|
1. | "Willow" |
| A. Dessner | 3:34 |
2. | "Champagne Problems" |
|
| 4:04 |
3. | "Gold Rush" |
|
| 3:05 |
4. | "'Tis the Damn Season" |
| A. Dessner | 3:49 |
5. | "Tolerate It" |
| A. Dessner | 4:05 |
6. | "No Body, No Crime" (featuring Haim) | Swift |
| 3:35 |
7. | "Happiness" |
| A. Dessner | 5:15 |
8. | "Dorothea" |
| A. Dessner | 3:45 |
9. | "Coney Island" (featuring the National) |
|
| 4:35 |
10. | "Ivy" |
| A. Dessner | 4:20 |
11. | "Cowboy like Me" |
| A. Dessner | 4:35 |
12. | "Long Story Short" |
| A. Dessner | 3:35 |
13. | "Marjorie" |
| A. Dessner | 4:17 |
14. | "Closure" |
|
| 3:00 |
15. | "Evermore" (featuring Bon Iver) |
|
| 5:04 |
Total length: | 60:38 |
No. | Title | Writer(s) | Producer(s) | Length |
---|---|---|---|---|
16. | "Right Where You Left Me" |
| A. Dessner | 4:05 |
17. | "It's Time to Go" |
| A. Dessner | 4:15 |
Total length: | 69:08 |
No. | Title | Writer(s) | Producer(s) | Length |
---|---|---|---|---|
18. | "Willow" (Dancing Witch Version – Elvira Remix) |
| A. Dessner | 3:04 |
19. | "Willow" (Lonely Witch Version) |
| A. Dessner | 3:34 |
Total length: | 75:45 |
Notes
- ^[a] signifies an additional producer.
- All track titles are stylized in all lowercase.
Créditos y personal
Adapted from Tidal,[15] Pitchfork,[8] and album liner notes.[139]
Musicians
- Taylor Swift – lead vocals (all tracks), songwriting (all tracks), production (tracks 2, 3, 6, 15)
- Aaron Dessner – production (1, 2, 4–17), songwriting (1, 4, 7–14, 16, 17), drum machine programming (1, 4–5, 7, 9–17), percussion (1, 10–12), keyboards (1, 5, 7, 11–12, 16–17), synthesizers (1–2, 4, 6–7, 9–12, 14–17), piano (1–2, 4–8, 11, 13–15, 17), electric guitar (1, 4, 6–12, 16–17), bass guitar (1, 4–10, 12, 14, 16–17), acoustic guitar (1–2, 4, 6–13, 16–17), synth bass (2, 10–13, 17), mandolin (6), field recording (6), tambourine (8), high string guitar (9–10), drum kit (10), rubber bridge guitar (10), drone (13), banjo (16)
- Bryce Dessner – production (9), songwriting (9), orchestration (1, 4–5, 7, 9–17), piano (9, 14), pulse (9), electric guitar (12)[a]
- James McAlister – synthesizers (1, 5, 10, 12, 14), drum machine programming (1, 5, 10, 12), percussion (5), keyboards (5, 10), Vermona pulse (13), drum kit (14, 16)[a]
- Bryan Devendorf – percussion (1, 10, 13), drum machine programming (1, 5, 9–10, 13, 17), drum kit (9, 12)
- Yuki Numata Resnick – violin (1, 4–5, 7, 9–17)
- Clarice Jensen – cello (1, 4, 5, 9–13, 15, 17)
- Jason Treuting – glockenspiel (1), percussion (5, 9, 13), drum kit (9), crotales (12, 15), metal percussion (12), chord stick (13–14, 17)
- Alex Sopp – flute (1, 15)[a]
- CJ Camerieri – French horn (1)[a]
- Thomas Bartlett – keyboard (1, 4, 7, 8, 16–17), synthesizers (1, 4, 7, 8, 10, 17), piano (8, 16–17)[a]
- William Bowery – songwriting (2, 9, 15), piano (15)
- Logan Coale – upright bass (2, 10–11, 14–15)
- Jack Antonoff – production (3), songwriting (3, 10), drums (3), percussion (3), bass (3), electric guitar (3), acoustic guitar (3), slide guitar (3), piano (3), Mellotron (3), backing vocals (3)
- Mikey Freedom Hart – DX7 (3), electric guitar (3), nylon guitar (3), Rhodes (3), celeste (3)[a]
- Sean Hutchinson – drums (3)[a]
- Michael Riddleberger – drums (3)
- Evan Smith – horns (3)[a]
- Patrik Berger – OP-1 (3)
- Bobby Hawk – violin (3)
- Nick Lloyd – Hammond B3 Organ (4, 16)[a]
- Josh Kaufman – harmonium (4, 16), lap steel (4, 6, 11), electric guitar (6, 8, 16), acoustic guitar (8), organ (6), harmonica (6, 11, 16), mandolin (11)[a]
- Benjamin Lanz – trombone (4, 10), horn arrangement (4), modular synthesizer (8, 10)[a]
- Danielle Haim – vocals (6)
- Este Haim – vocals (6)
- JT Bates – drum kit (6–8, 10, 17), percussion (8, 16–17)[a]
- Ryan Olson – Allovers Hi-Hat Generator (7, 13, 17)[a]
- Matt Berninger – vocals (9)
- Scott Devendorf – bass guitar (9), pocket piano (9)[a]
- Justin Vernon – backing vocals (10, 13), triangle (10), drum kit (10–11, 14), banjo (10), electric guitar (10–11, 17), Prophet X (13), Messina (14), synthesizers (15), field recording (15), vocals (15), bass guitar (17), acoustic guitar (17)[a]
- Kyle Resnick – trumpet (10, 12, 14, 17)[a]
- Marcus Mumford – backing vocals (11)
- Marjorie Finlay – backing vocals (13)
- Trever Hagen – trumpet (14), no-input mixer (14)[a]
- BJ Burton – additional production (14)
- James McAlister – additional production (14)
- Gabriel Cabezas – cello (14–15)
- Dave Nelson – trombone (14, 17)[a]
- Stuart Bogie – alto clarinet (15), contrabass clarinet (15), flute (15)[a]
- Jonathan Low – drum machine programming (16)
Additional instrument recording[b]
- Kyle Resnick – violin (1, 4–5, 7, 9–17)
- Bobby Hawk – violin (3)
- Aaron Dessner – vermona pulse (13)
- Robin Baynton – piano (Bowery on 15)
Technical
- Jonathan Low – recording (1–2, 4–17), vocal recording (1–5; Swift on 6, 9; 10–14; Swift on 15; 17), mixing (all tracks)
- Aaron Dessner – recording (1–2, 4–17)
- Greg Calbi – mastering
- Steve Fallone – mastering
- Laura Sisk – recording (3), vocal recording (8)
- John Rooney – assistant engineering (3)
- Jon Sher – assistant engineering (3)
- Ariel Rechtshaid – vocal recording (Danielle and Este Haim on 6)
- Matt DiMona – vocal recording (Danielle and Este Haim on 6)
- Robin Baynton – vocal recording (7; Swift on 9; Mumford on 11; 16)
- Sean O'Brien – vocal recording (Berninger on 9)
- Justin Vernon – vocal recording (Bon Iver on 15)
Design
- Beth Garrabrant – photography[140]
Gráficos
Weekly charts
| Year-end charts
|
Certificaciones y ventas
Region | Certification | Certified units/sales |
---|---|---|
Australia (ARIA)[174] | Gold | 35,000 |
Canada (Music Canada)[175] | Gold | 40,000 |
New Zealand (RMNZ)[176] | Gold | 7,500 |
United Kingdom (BPI)[177] | Gold | 100,000 |
United States | — | 391,000[104] |
Sales+streaming figures based on certification alone. |
Historial de versiones
Region | Date | Format(s) | Edition(s) | Label | Ref. |
---|---|---|---|---|---|
Various | December 11, 2020 |
| Standard | Republic | [15] |
United Kingdom | December 18, 2020 | CD | Deluxe | EMI | [178] |
United States | Republic | [179] | |||
Various | January 7, 2021 |
| [180] | ||
Japan | January 22, 2021 | CD | Japanese | Universal Music Japan | [181][182] |
Brazil | January 29, 2021 |
| Deluxe | Universal | [183] |
Various | February 21, 2021 | Cassette tape | Deluxe | Universal Music Group | [184] |
May 28, 2021 | Vinyl | Deluxe | EMI | [185][186] |
Ver también
- Album era
- List of 2020 albums
- List of Billboard 200 number-one albums of 2020
- List of Billboard 200 number-one albums of 2021
- List of UK Albums Chart number ones of the 2020s
- List of UK Album Downloads Chart number ones of the 2020s
- List of number-one albums of 2020 (Australia)
- List of number-one albums of 2021 (Australia)
- List of number-one albums of 2020 (Canada)
- List of number-one albums of 2021 (Canada)
- List of number-one albums from the 2020s (New Zealand)
- List of number-one albums of 2021 (Belgium)
Notas
- ^ Released to US country radio only
- ^ Released to US Triple A radio only
- ^ a b c d e f g h i j k l m n o p q r s This performer is also credited with recording their instrumentation.
- ^ Several performers are also credited with recording their own instrumentation, as noted in the 'Musicians' section.
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