This is the Pitchwork Review, the show about the musicians we're obsessed with and the albums you need to know right now.

I'm Pooja Patel, the editor-in-chief, and today we're jumping into Taylor Swift's Midnights.

It's her 10th studio album, and it came with, in Taylor's own words, a quote-unquote,

special, very chaotic surprise, which could really mean anything. She spent the last few years

re-recording all of her earlier work after the sale of her master's to Scooter Braun in 2019.

And in 2020, her album's folklore and Evermore

showed her shifting towards an indie sound

and even some of her country roots.

Ahead of the release of Midnights,

Taylor tees that we would get a peek into her terrors

and her sweet dreams.

And we'll get into all of it

with Pitchfork Senior Editor Anna Gautza

and staff writer Quinn Moreland in just a minute.

I've got Pitchfork Senior Editor Anna Gautza and staff writer Quinn Morland here with me.

Hello, friends.

Hello.

So we gave Midnights a 7, which was a little bit higher than reputation and a little bit lower than lover, which is, I think, spot on because this felt like a bunch of B-sides.

But it was also a score that kind of universally, everyone was like, yep, it's a seven.

A seven is a perfectly fine score.

A seven is so respectable.

Someone asked if I will be re-listening to the album after the review.

...