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"I had a feeling so peculiar / This pain wouldn't be for evermore."

"To put it plainly, we just couldn’t stop writing songs. To try and put it more poetically, it feels like we were standing on the edge of the folklorian woods and had a choice: to turn and go back or to travel further into the forest of this music. We chose to wander deeper in."
Taylor Swift's teaser statement in advance of the album
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evermore (stylized lowercase) is the ninth studio album by American singer-songwriter Taylor Swift.

Announced on social media only the morning before, the album was released at midnight on December 11, 2020, fewer than five months after the similarly unexpected folklore.

Swift described it as a "sister record" to folklore, an assertion borne out by the sonic and thematic similarity between the two which contrasts sharply with Swift's usual sound and image reinventions between projects. Like its predecessor, evermore features intricate lyrics, an emphasis on emotional storytelling, Alternative Indie production elements, and contributions from Bon Iver and The National (joined on this record by Haim).


Preceded by folklore.
Tracklist:
  1. "willow" (3:34)
  2. "champagne problems" (4:04)
  3. "gold rush" (3:05)
  4. "'tis the damn season" (3:49)
  5. "tolerate it" (4:05)
  6. "no body, no crime" (featuring Haim) (3:35)
  7. "happiness" (5:15)
  8. "dorothea" (3:45)
  9. "coney island" (featuring The National) (3:45)
  10. "ivy" (4:20)
  11. "cowboy like me" (4:35)
  12. "long story short" (3:35)
  13. "marjorie" (4:17)
  14. "closure" (3:00)
  15. "evermore" (featuring Bon Iver) (5:04)
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Not to be confused with the Australian pop rock band Evermore.

This album provides examples of:

  • Adaptational Angst Upgrade: Inverted. "ivy" in the Clean Version replace "Oh, goddamn" with "Oh, I can't", making the singer less conflicting about the relationship and is just in denial.
  • Adult Fear: The narrator of "no body, no crime" is in a situation that is utterly terrifying because of how eerily plausible it is. Her close friend confides in her that she thinks her husband is having an affair, and intends to confront him. Her friend is never seen again, and her husband moves in with a new woman shortly after filing a missing persons report...
  • Age-Gap Romance: In "tolerate it," the narrator mentions that her boyfriend is much older than her. Much like "Dear John" before it, this is deconstructed, as it's one of many parts of the relationship that's unhealthy.
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  • Album Title Drop: Peculiarly, "gold rush" title-drops not evermore, but folklore, which none of the previous album's songs had done:
    My mind turns your life into folklore
    I can't dare to dream about you anymore
  • all lowercase letters: The album title and all of its songs are stylized this way.
  • All Take and No Give: "tolerate it" is from the perspective of a Giver who is in this type of relationship.
  • Anti-Love Song:
    • "ivy" opens with the narrator exclaiming and praising her lover... until the rest of the song revealed that she is very conflicting about this relationship affecting her current one with her husband (which mean either this is an affair or the lover she is exclaiming is dead and she still can't get over them) and compare their love to ivy that will destroy her.
  • Bittersweet Ending:
    • Cross with "Ray of Hope" Ending. The album ends with "evermore", a song that discusses depression and hopelessness in times of extreme duress, but ends with the hope that the pain won't be forever and that the narrator will get better one day.
    • The album bonus track closer "it's time to go" is about someone who is leaving a toxic relationship with her head held high because she knew there is better future lie ahead of her. The song is a not-so-subtle diss against Scooter Braun and Scott Borchetta as well as a friend of Taylor who betrayed her (widely speculated to be Karlie Kloss).
  • Book-Ends: "tolerate it" begins and ends with the same line, "I sit and watch you," implying that, even though the narrator contemplates leaving her partner who doesn't appreciate her, she doesn't go through with it.
  • Bread, Eggs, Milk, Squick: The lyrical imagery in "gold rush":
    I don't like slow motion double vision in a rose blush
    I don't like that falling feels like flying 'til the bone crush
  • Break-Up Song:
    • "champagne problems" is from the perspective of a woman who turns down her partner's marriage proposal, breaking his heart.
    • "happiness" is about the fallout of a breakup that's especially painful because the narrator knows her ex-boyfriend isn't fully to blame, nor is he a bad person, and even if it's over, the relationship brought them both love and joy for a long time. She's trying to be cordial about it and wish him well, but she's in too much pain at the moment to manage it.
      No one teaches you what to do
      When a good man hurts you
      And you know you hurt him, too
    • "closure" is the narrator telling a former flame to get out of her life, she's not interested in staying friends and she just wants to move on.
  • Dark and Troubled Past: "evermore" implied that both the narrator (sung by Taylor) and her love interest (sung by Bon Iver) have incredibly turbulent past separately and together.
    (Taylor) I rewind thе tape, but all it does is pause
    On thе very moment all was lost
    ...
    (Bon Iver) Can't not think of all the cost
    And the things that will be lost
    Oh, can we just get a pause?
    To be certain, we'll be tall again
    Whether weather be the frost
    Or the violence of the dog days
    I'm on waves, out being tossed
    Is there a line that I could just go cross?
  • The Diss Track: The bonus track "it's time to go" is an extremely not-so-subtle dig at her former label manager Scott Borchetta and a former female friend of Taylor who betrayed her (widely speculated to be Karlie Kloss):
    When the words of a sister come back in whispers
    That prove she was not in fact what she seemed
    Not a twin from your dreams
    She's a crook who was caught
    ...
    Fifteen years, fifteen million tears
    Begging 'til my knees bled
    I gave it my all, he gave me nothing at all
    Then wondered why I left
    Now he sits on his throne in his palace of bones
    Praying to his greed
    He's got my past frozen behind glass
    But I've got me
  • Double-Meaning Title: "champagne problems" is an expression meaning First World Problems, but it also refers to the fact that the narrator's ex and their family bought champagne in anticipation of an engagement that ended up not happening.
  • Face on the Cover: Played with. The album cover frames Swift portrait-style, but she is facing away from the camera.
  • First World Problems: Subverted by "champagne problems." The phrase is used to described this trope, and the song certainly started out with a heartbreaking but relatively minor problem: the girl rejected her boyfriend's proposal, but the song later heavily alludes to the societal judgment of the girl for not wanting marriage, with people saying she is "fucked in the head".
  • Grief Song: "marjorie" is about mourning a lost loved one, named after Taylor's grandmother, who died when she was fourteen.
    What died didn't stay dead
    What died didn't stay dead
    You're alive, you're alive in my head
    What died didn't stay dead
    What died didn't stay dead
    You're alive, so alive
  • Hero of Another Story: "marjorie" heavily decontructed this trope. The song has Taylor expresses guilt and regret of not asking her grandmother more about the latter's life before she passed away because Taylor was too young and now she will never fully know what a wonderful person her grandmother was.
  • Ill Girl: One interpretation of the female narrator in "evermore" is that the pain she sings about is physical, that the illness she has involve respiratory problems and that she is feeling pessimistic about her illness:
    And I was catching my breath
    Staring out an open window
    Catching my death
  • Imagine Spot: The narrator of "gold rush" keeps catching herself imagining a future with the person she totally doesn't like, much to her annoyance.
  • Ironic Echo: The chorus of "no body, no crime."
    • First time, it's Este voicing her suspicions: she thinks her husband is cheating on her, but she can't prove it - "No body, no crime / But I ain't letting up until the day I die".
    • Next verse says Este disappeared, and her husband's mistress took her place. Apparently, she let up because she did die, but "No body, no crime." The narrator figures this out but can't prove it, so she wows, "But I ain't letting up until the day I die."
    • Next verse has the narrator killing Este's husband and disposing of the body, and the chorus goes, "No body, no crime" again: his mistress thinks the narrator did it, but she just can't prove it. The narrator gloats, "I wasn't letting up until the day he / Died."
  • I Want My Beloved to Be Happy:
    • Implied in "champagne problems," after the narrator turns down her boyfriend's marriage proposal, and then reflects that he'll probably settle down with a perfectly nice girl eventually.
      But you'll find the real thing instead
      She'll patch up your tapestry that I shred
      And hold your hand while dancing
    • The narrator of "happiness" spitefully suggests a "beautiful fool" will take her place as her ex's girlfriend, but then admits, "I didn't mean that," and admits she's not being fair, and that "there'll be happiness after me." She's hurt and angry, but she doesn't want her ex to hurt.
  • Lipstick Mark: In "no body, no crime," Este lists "ain't my merlot on his mouth" as one of the signs of her husband's infidelity. "Merlot" is a popular lipstick color.
  • Love Martyr: "tolerate it" is narrated by a woman who's in a relationship with a man who merely tolerates her affection for him and treats her very poorly. She knows she deserves better, but can't bring herself to leave.
  • Love Nostalgia Song: "dorothea" is told from the perspective of Dorothea's high school sweetheart, who now only sees her on TV and in magazines, but still carries a torch for her and hopes she's doing well.
  • The Mistress:
    • A small but pivotal character in "no body, no crime," as Este's husband murders her to move in with his side piece instead.
    • "ivy" is more sympathetic, as the narrator is engaged or married to a man she doesn't love, and embarks on an affair she knows can't last—her love interest is this archetype (though their gender, and whether they're married themselves, is unclear)
  • Murder Ballad: "no body, no crime" tells the tale of a woman whose best friend goes missing after accusing her husband of cheating, and the narrator's quest to avenge her.
    I know he did it, but I just can't prove it
    No, no body, no crime
    But I ain't lettin' up 'til the day I die
  • Murder the Hypotenuse: A variant in "no body, no crime." Este suspects her husband is cheating, and he is... but his mistress doesn't kill her, he does. Whether or not the mistress was involved in the murder at all is left unclear.
  • New Sound Album: Notably averted. Whereas every one of Swift's other albums at least since Red had featured a distinct generic shift, evermore sounds like an extension of its preceding sister album.
  • The One Who Made It Out: The titular "dorothea" left the small town in which she and the narrator grew up to become a famous celebrity. The narrator seems happy where they are, but does wish she'd come back.
    You got shiny friends since you left town
    A tiny screen's the only place I see you now
  • One-Woman Song:
    • "dorothea," where the object of affection's name is both the title and the entirety of the hook.
    • "marjorie," about Swift's grandmother.
    • Both songs may also be referencing Marjorie and Dorothea West. Marjorie was a little girl who went missing in 1938 and was never found, Dorothea was her sister and the last person to see her alive.
  • Real Life Writes the Plot: Also notably averted. Like its sister album, the album is composed of stories that are not about her, but stories of characters that she created. Taylor has gone on the record to say that evermore has even more character stories to tell than folklore.
  • Rejected Marriage Proposal: "champagne problems" is from the perspective of the woman doing the rejecting. She never says why she turns him down, and hates hurting him, but doesn't doubt her decision.
    Sometimes you just don't know the answer
    'Til someone's on their knees and asks you
    "She would've made such a lovely bride
    What a shame she's fucked in the head," they said
  • Revenge Ballad: "no body, no crime" becomes this after the first verse, when the narrator realizes Este's husband killed her, and there isn't enough evidence to arrest him. She takes an alternative route to getting justice.
  • Sampling: The ending of "marjorie" uses audio of Taylor's grandmother, Marjorie Findlay, from her career as an opera singer, to truly stunning effect.
  • Sequel Song:
    • "dorothea" is particularly similar to folklore's "betty," being a relatively jaunty One-Woman Song sung to a temporarily lost beloved. Taylor has also said that while the stories aren't connected, she imagines Dorothea went to the same high school as Betty, James, Inez, and "August" from folklore.
    • The thirteenth track on folklore, "epiphany," was inspired partially by the experiences of Taylor's grandfather, Dean. The thirteenth track on evermore is about and named for her grandmother, Marjorie.
  • Sex for Solace: Given a PG mention in "long story short."
    Pushed from the precipice
    Clung to the nearest lips
    Long story short, it was the wrong guy
  • Sex with the Ex: "'tis the damn season" is about hooking up with an old flame while home for the holidays.
  • Silly Love Songs:
    • "willow" is about falling in love with someone unexpectedly, but loving them all the more for it.
      Wreck my plans
      That's my man
    • "ivy" plays with this; it's undoubtedly a love song, but has the added twist of it involving an extramarital affair, which means it isn't all sunshine and rainbows.
      Oh, I can't stop you putting roots in my dreamland
    • "long story short" is about making it through a rough patch in your life and eventually finding love with the right person at the right time.
      When I dropped my sword
      I threw it in the bushes and knocked on your door
      And we live in peace
      But if someone comes at us, this time, I'm ready
  • Small Town Boredom: In "dorothea," the narrator mentions that Dorothea never liked how quiet and monotonous their hometown is.
  • The Mourning After: The bonus track "right where you left me" is about a girl who is unable to move on from a break up and her life is stuck in that moment even when her ex has moved on.
  • Title Track: The final song shares its name with the album.
  • Trial Balloon Question: In "tolerate it," the Love Martyr narrator asks her partner, "But what would you do if I / Break free and leave us in ruins?"
  • Tsundere:
    • The narrator of "gold rush" really, really doesn't want to like the song's subject, but she clearly does—and she's pissed off.
    I don't like that anyone would die to feel your touch
    Everybody wants you
    Everybody wonders what it would be like to love you
    • The narrator of "tis the damn season" clearly still has feeling for her ex both as a friend and a lover despite her insistence to them that she doesn't.
    If I wanted to know who you were hanging with
    While I was gone, I would've asked you
    ...
    There's an ache in you, put there by the ache in me
    But if it's all the same to you
    It's the same to me
    ...
    Now I'm missing your smile, hear me out
    We could just ride around
    And the road not taken looks real good now
    And it always leads to you and my hometown
    Sleep in half the day just for old times' sake
    I won't ask you to wait if you don't ask me to stay
    ...
    And wonder about the only soul
    Who can tell which smiles I'm fakin'
    And the heart I know I'm breakin' is my own
    To leave the warmest bed I've ever known
    We could call it even
  • What the Hell Is That Accent?: "closure" has Swift slips into a strange accent in the chorus in what can be described as a mix between a Minnesota and stereotypical British accent.

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