The Tortured Poets Department / The Anthology by Taylor Swift: Everytime that I travel, I select an album to serve as my travel companion, immersing myself in its melodies and lyrics to create a personal soundtrack for those days. For my latest trip, I chose Taylor Swift's The Torture Poets Department to fill this role.

Let me start with a disclaimer that the whole music industry has been abuzz with opinions of this album, especially since it is her first major release following the conclusion of her most significant personal relationship up to now.

The first half of the album is rich with what could be termed "Jack Antonoffisms"—characterized by minimalist drum beats and shimmering synthesizers. However, the portion of the album I find most compelling, the Anthology section, bears the distinctive production hallmark of Aaron Dessner of The National, Swift's collaborator on both Folklore and Evermore. This section not only showcases Dessner's influence but also features songs that echo the melodies and themes of Swift's earlier works, such as the emotional resonance between the introductory notes of “So Long, London” that recall Folklore's “My Tears Ricochet”.

As pitchfork stated: "Swift is largely retreading old territory—unsurprising, perhaps, given that the last three years of her life have been consumed by re-recording her old albums and touring her past selves." I agree with that, but despite this, TTPD reveals new layers of Swift's storytelling, with a transparency and directness I find unprecedented in her work. Where once listeners might speculate on the inspiration behind each song, in this album, taylor is really vocal, offering clear insights into her personal experiences without reservation.

Now, I'd like to delve into two of the album's most contentious aspects: its expansive tracklist, exceeding 30 songs, and the discernible influence of Jack Antonoff.

• Criticism has been levied at Swift for producing an "unnecessary two-hour long album," arguing that she epitomizes the modern music economy's push for artists to release as much content as possible to maximize streaming and sales. However, I find this critique only partially valid. While there's merit in critiquing her marketing strategies—releasing multiple album versions, limited editions, and prioritizing commercial success over artistic sustainability—it's crucial to remember at her core, Swift is a storyteller. Given the creative autonomy she's secured and her influence over her releases, it's natural for her to want her stories to be experienced and her narratives to resonate widely.

• I also feel compelled to address the criticism directed at Jack Antonoff for the album's first part, where some argue that his influence has led to a “sameness in the songs”, suggesting Swift should sever their collaboration. This critique, in my view, veers uncomfortably close to sexism. The songs in question are, ultimately, Swift's—reflecting her vision and voice. Given her well-documented involvement in every aspect of her music, it's likely she had equal if not greater input in the production process than Antonoff. Swift has consistently demonstrated that her work bears her signature, meticulously reviewed and refined until it meets her standards. Therefore, if there's dissatisfaction with these songs, it's unjust to place the blame solely on Antonoff's shoulders; Swift shares in the responsibility for the final product.

To conclude: This is not a commercial album.  it's crafted not for the casual listener but for the dedicated fan. Although it has a few exceptions like “Down Bad” and “I Can Do It With a Broken Heart”, most of the lyrics are dense and require you to stop and read them. In many of the songs I had to research the meaning of the metaphors she uses and the stories behind the lyrics, and I know that's not something a regular listener would do - it's something a committed fan would do. Luckily, she has a lot of those. Tracks such as "The Prophecy," "The Bolter," "The Albatross," and "The Manuscript" stand out as poetic expressions of her personal truths, showcasing a level of artistry and introspection unmatched by any other artist nowadays.

Best songs: Guilty as Sin?; So Long, London; The Prophecy; The Black Dog; The Albatross; Who’s Afraid of Little Old Me; The Bolter; The Manuscript

For those that like Taylor Swift. (Rating 8/10)

WHAT ABOUT ME?

Dear friends,

As you know, I've been traveling this past week and just got back yesterday. It was quite a challenge to put together this special double edition in just one day, but I'm proud of the result and hope you find it as exciting as I intended.

In the last edition, I shared how important this trip was for me, marking my 25th birthday. It was everything I hoped for and more. My chosen destination: Montenegro! 

I sought a place brimming with nature. Over ten days, I climbed snowy mountains, visited paradisiacal beaches, rafted through Europe's largest canyon, rode horses in one of the largest nature reserves worldwide, and fell in love with a people whose motto is: Polako, polako (slowly, slowly).

To make my 25th birthday even more meaningful, I decided to unplug completely— no social media, no constant checking of messages. It was my first time doing a digital detox, and it turned out to be a perfect opportunity to spend some time without external interferences. How much of our thoughts are truly our own? How much of what we think is just a refletion of what others think? What does my inner voice say when I'm trekking alone for twelve hours without internet access? - it sings. A lot.

I'll confess to you: Sometimes I feel like I'm living someone else's life. As if my life was not mine. As a child, on my good days, I dreamed of winning a scholarship, studying in the United States, and starting a happy life there. On my bad days, I feared I'd never leave my city, would have to give up the only dream that shaped my personality for years, find a job, pay the bills, and accept that this is life. And truthfully, there were many bad days. But never - not even in my wildest dreams - did I imagine I would live the experiences I've lived, see the things I’ve seen and visit the places I've gradually come to know.

Whether it was going to Australia for four months with everything paid for, meeting Anitta at a random bar in Croatia, being a party promoter in Barcelona or recently getting lost in the middle of nowhere in Montenegro and hitching a ride with a Polish couple that barely spoke English, I honestly have a really hard time believing this life is mine. That these stories are mine.

Whether you believe in a higher power or the universe's energy, I've always had a clear plan from point A to point B. And for me it truly feels as the universe said:

I am the first person in my family to watch a sunset in Slovakia. The first to win a scholarship to study abroad. The first to learn Italian and even create memories in that language! I can't help but get emotional thinking about how the universe has gifted me each of these adventures - not to mention the wonderful people I meet along the way, many of whom are probably reading this.

I have a love for life. And a gratitude that fills me every time I think that today I’ve lived so much more than I ever imagined.

I don't like birthdays because they make me think about everything I wanted to achieve and didn't. They remind me that, in many areas of my life, I haven't reached that point B yet. But honestly, I think my life stopped being about reaching that point B some time ago. In fact, it never was. But I’m only starting to notice it now.

With love,

Micael.

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