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The mood and the uninhibited emotion of the lyrics were also a source of compliment. Writing for ''[[Rolling Stone]]'', music journalist [[Rob Sheffield]] described the album as Swift's most personal, "wildly ambitious and gloriously chaotic" project.<ref name="Sheffield">{{Cite magazine |last=Sheffield |first=Rob |author-link=Rob Sheffield |date=April 19, 2024 |title=Come For the Torture, Stay For the Poetry: This Might Be Taylor Swift's Most Personal Album Yet |url=https://www.rollingstone.com/music/music-album-reviews/taylor-swift-the-tortured-poets-department-review-1235006977/ |url-status=live |archive-url=https://web.archive.org/web/20240419041750/https://www.rollingstone.com/music/music-album-reviews/taylor-swift-the-tortured-poets-department-review-1235006977/ |archive-date=April 19, 2024 |access-date=April 19, 2024 |magazine=[[Rolling Stone]]}}</ref> ''[[Variety (magazine)|Variety]]'''s Chris Willman agreed, calling it an "audacious, transfixing" project that combines "cleverness with catharsis".<ref name="Willman-2024" /> He agreed with ''[[The Observer]]''{{'s}} [[Kitty Empire]] in that the album could be Swift's most "[[wiktionary:Swiftian|Swiftian]]" album.<ref>{{Cite news |last=Empire |first=Kitty |date=April 20, 2024 |title=Taylor Swift: The Tortured Poets Department review – a whole lotta love gone bad |url=https://www.theguardian.com/music/2024/apr/20/taylor-swift-the-tortured-poets-department-review-joe-alwyn |access-date=April 20, 2024 |newspaper=The Guardian |issn=0261-3077}}</ref> ''Billboard'' editor Jason Lipshutz categorized the album as "unbridled emotion and unkempt drama",<ref name="Lipshutz-2024" /> whereas ''[[Clash (magazine)|Clash]]''{{'s}} Lauren Webb dubbed it "a spell-binding, toxic, chaotic illustration of what floating adrift and losing yourself looks like."<ref name="Clash">{{Cite magazine |last=Webb |first=Lauren |date=April 19, 2024 |title=Taylor Swift - The Tortured Poets Department |url=https://www.clashmusic.com/reviews/taylor-swift-the-tortured-poets-department/ |access-date=April 20, 2024 |magazine=[[Clash (magazine)|Clash]]}}</ref>
The mood and the uninhibited emotion of the lyrics were also a source of compliment. Writing for ''[[Rolling Stone]]'', music journalist [[Rob Sheffield]] described the album as Swift's most personal, "wildly ambitious and gloriously chaotic" project.<ref name="Sheffield">{{Cite magazine |last=Sheffield |first=Rob |author-link=Rob Sheffield |date=April 19, 2024 |title=Come For the Torture, Stay For the Poetry: This Might Be Taylor Swift's Most Personal Album Yet |url=https://www.rollingstone.com/music/music-album-reviews/taylor-swift-the-tortured-poets-department-review-1235006977/ |url-status=live |archive-url=https://web.archive.org/web/20240419041750/https://www.rollingstone.com/music/music-album-reviews/taylor-swift-the-tortured-poets-department-review-1235006977/ |archive-date=April 19, 2024 |access-date=April 19, 2024 |magazine=[[Rolling Stone]]}}</ref> ''[[Variety (magazine)|Variety]]'''s Chris Willman agreed, calling it an "audacious, transfixing" project that combines "cleverness with catharsis".<ref name="Willman-2024" /> He agreed with ''[[The Observer]]''{{'s}} [[Kitty Empire]] in that the album could be Swift's most "[[wiktionary:Swiftian|Swiftian]]" album.<ref>{{Cite news |last=Empire |first=Kitty |date=April 20, 2024 |title=Taylor Swift: The Tortured Poets Department review – a whole lotta love gone bad |url=https://www.theguardian.com/music/2024/apr/20/taylor-swift-the-tortured-poets-department-review-joe-alwyn |access-date=April 20, 2024 |newspaper=The Guardian |issn=0261-3077}}</ref> ''Billboard'' editor Jason Lipshutz categorized the album as "unbridled emotion and unkempt drama",<ref name="Lipshutz-2024" /> whereas ''[[Clash (magazine)|Clash]]''{{'s}} Lauren Webb dubbed it "a spell-binding, toxic, chaotic illustration of what floating adrift and losing yourself looks like."<ref name="Clash">{{Cite magazine |last=Webb |first=Lauren |date=April 19, 2024 |title=Taylor Swift - The Tortured Poets Department |url=https://www.clashmusic.com/reviews/taylor-swift-the-tortured-poets-department/ |access-date=April 20, 2024 |magazine=[[Clash (magazine)|Clash]]}}</ref>


Several critics argued that Swift and Antonoff's collaboration on ''The Tortured Poets Department'' resulted in a sound that was similar to their past music, therefore appearing uninventive, as per [[The New York Times|''The New York Times'']]' Lindsay Zoladz,<ref name="Zoladz">{{cite web | last=Zoladz | first=Lindsay | title=Taylor Swift's New Album, ''The Tortured Poets Department'', Could Use an Editor: Review | website=[[The New York Times]]| url-access=limited | date=April 19, 2024 | url=https://www.nytimes.com/2024/04/19/arts/music/taylor-swift-album-tortured-poets-department-review.html | access-date=April 20, 2024}}</ref> ''[[NME]]''<nowiki/>'s Laura Molloy,<ref name="NME">{{Cite web |last=Molloy |first=Laura |date=April 19, 2024 |title=Taylor Swift – ''The Tortured Poets Department'' Review: A Rare Misstep |url=https://www.nme.com/reviews/album/taylor-swift-the-tortured-poets-department-lyrics-tracklist-3619454 |url-status=live |archive-url=https://web.archive.org/web/20240419044223/https://www.nme.com/reviews/album/taylor-swift-the-tortured-poets-department-lyrics-tracklist-3619454 |archive-date=April 19, 2024 |access-date=April 19, 2024 |website=[[NME]]}}</ref> and ''[[Stereogum]]''<nowiki/>'s Tom Breihan, who suggested that it was Swift's "aesthetic comfort zone".<ref name="Breihan" /> ''[[The New Yorker]]''{{'}}s [[Amanda Petrusich]] rather favored Dessner's input to the album as "gentler, more tender, and more surprising".<ref name="Petrusich">{{cite magazine | last=Petrusich | first=Amanda |author-link=Amanda Petrusich | title=The Tortured Poetry of Taylor Swift's New Album | magazine=[[The New Yorker]] | date=April 19, 2024 | url=https://www.newyorker.com/magazine/2024/05/06/taylor-swifts-tortured-poetry | access-date=April 20, 2024| url-access=limited}}</ref> The BBC's Mark Savage additionally took issue with how "[Swift's] vocals mannerisms have become overly familiar".<ref name="Savage"/> Mary Kate Carr of ''[[The A.V. Club]]'' contended that despite being a "perfectly good album", ''The Tortured Poets Department'' arrived at a time when Swift is "left with nothing to prove", marking a stagnant point in her career.<ref name="AVClub">{{Cite web |last=Carr |first=Mary Kate |date=April 19, 2024 |title=Taylor Swift's ''The Tortured Poets Department'' Is Stuck in the Past |url=https://www.avclub.com/taylor-swift-the-tortured-poets-department-review-1851419476 |access-date=April 19, 2024 |website=[[The A.V. Club]] |archive-date=April 19, 2024 |archive-url=https://web.archive.org/web/20240419201239/https://www.avclub.com/taylor-swift-the-tortured-poets-department-review-1851419476 |url-status=live }}</ref> In a negative review, [[Paste (magazine)|''Paste'']] opined that the album is rushed, uninteresting and unrelatable.<ref name="Paste">{{Cite web |date=April 19, 2024 |title=Taylor Swift Strikes Out Looking on ''The Tortured Poets Department'' |url=https://www.pastemagazine.com/music/taylor-swift/taylor-swift-strikes-out-looking-on-the-tortured-poets-department |url-status=live |archive-url=https://web.archive.org/web/20240420000218/https://www.pastemagazine.com/music/taylor-swift/taylor-swift-strikes-out-looking-on-the-tortured-poets-department |archive-date=April 20, 2024 |access-date=April 20, 2024 |website=[[Paste (magazine)|Paste]]}}</ref>
Several critics argued that Swift and Antonoff's collaboration on ''The Tortured Poets Department'' resulted in a sound that was similar to their past music, therefore appearing uninventive, as per [[The New York Times|''The New York Times'']]' Lindsay Zoladz,<ref name="Zoladz">{{cite web | last=Zoladz | first=Lindsay | title=Taylor Swift's New Album, ''The Tortured Poets Department'', Could Use an Editor: Review | website=[[The New York Times]]| url-access=limited | date=April 19, 2024 | url=https://www.nytimes.com/2024/04/19/arts/music/taylor-swift-album-tortured-poets-department-review.html | access-date=April 20, 2024}}</ref> ''[[NME]]''<nowiki/>'s Laura Molloy,<ref name="NME">{{Cite web |last=Molloy |first=Laura |date=April 19, 2024 |title=Taylor Swift – ''The Tortured Poets Department'' Review: A Rare Misstep |url=https://www.nme.com/reviews/album/taylor-swift-the-tortured-poets-department-lyrics-tracklist-3619454 |url-status=live |archive-url=https://web.archive.org/web/20240419044223/https://www.nme.com/reviews/album/taylor-swift-the-tortured-poets-department-lyrics-tracklist-3619454 |archive-date=April 19, 2024 |access-date=April 19, 2024 |website=[[NME]]}}</ref> and ''[[Stereogum]]''<nowiki/>'s Tom Breihan, who suggested that it was Swift's "aesthetic comfort zone".<ref name="Breihan" /> ''[[The New Yorker]]''{{'}}s [[Amanda Petrusich]] rather favored Dessner's input to the album as "gentler, more tender, and more surprising".<ref name="Petrusich">{{cite magazine | last=Petrusich | first=Amanda |author-link=Amanda Petrusich | title=The Tortured Poetry of Taylor Swift's New Album | magazine=[[The New Yorker]] | date=April 19, 2024 | url=https://www.newyorker.com/magazine/2024/05/06/taylor-swifts-tortured-poetry | access-date=April 20, 2024| url-access=limited}}</ref> The BBC's Mark Savage additionally took issue with how "[Swift's] vocals mannerisms have become overly familiar".<ref name="Savage"/> Mary Kate Carr of ''[[The A.V. Club]]'' contended that despite being a "perfectly good album", ''The Tortured Poets Department'' arrived at a time when Swift is "left with nothing to prove", marking a stagnant point in her career.<ref name="AVClub">{{Cite web |last=Carr |first=Mary Kate |date=April 19, 2024 |title=Taylor Swift's ''The Tortured Poets Department'' Is Stuck in the Past |url=https://www.avclub.com/taylor-swift-the-tortured-poets-department-review-1851419476 |access-date=April 19, 2024 |website=[[The A.V. Club]] |archive-date=April 19, 2024 |archive-url=https://web.archive.org/web/20240419201239/https://www.avclub.com/taylor-swift-the-tortured-poets-department-review-1851419476 |url-status=live }}</ref> In a negative review, [[Paste (magazine)|''Paste'']] opined that the album is uninspiring, rubbish and mediocre.<ref name="Paste">{{Cite web |date=April 19, 2024 |title=Taylor Swift Strikes Out Looking on ''The Tortured Poets Department'' |url=https://www.pastemagazine.com/music/taylor-swift/taylor-swift-strikes-out-looking-on-the-tortured-poets-department |url-status=live |archive-url=https://web.archive.org/web/20240420000218/https://www.pastemagazine.com/music/taylor-swift/taylor-swift-strikes-out-looking-on-the-tortured-poets-department |archive-date=April 20, 2024 |access-date=April 20, 2024 |website=[[Paste (magazine)|Paste]]}}</ref>


== Commercial performance ==
== Commercial performance ==

Revision as of 22:44, 20 April 2024

The Tortured Poets Department
Black-and-white image of Swift lying on a bed. The album title is displayed on the image. The image is surrounded by a thick white border.
Standard cover
Studio album by
Taylor Swift
ReleasedApril 19, 2024 (2024-04-19)
Recorded2022–2023
GenreSynth-pop
Length65:08
LabelRepublic
Producer
Taylor Swift chronology
1989 (Taylor's Version)
(2023) 		The Tortured Poets Department
(2024)
Alternative cover
Against a dark background, Swift strikes an artistic pose, bending her torso and holding her head.
The Anthology double album cover
Singles from The Tortured Poets Department
  1. "Fortnight"
    Released: April 19, 2024

The Tortured Poets Department (often shortened to Tortured Poets) is the eleventh studio album by the American singer-songwriter Taylor Swift. Released on April 19, 2024, via Republic Records, the album was written and produced by Swift, Jack Antonoff and Aaron Dessner. Swift announced the album at the 66th Annual Grammy Awards on February 4, 2024, after winning Best Pop Vocal Album for her tenth studio album, Midnights (2022).

Swift conceived The Tortured Poets Department shortly after finishing work on Midnights and continued developing the former during the Eras Tour (2023–2024), her ongoing sixth concert tour. Self-described as her "lifeline" album, The Tortured Poets Department was perceived by Swift as a culmination of imperative songwriting. Issued as a double album, the album's second volume is subtitled The Anthology, which was surprise-released two hours after the first. American rapper Post Malone features on the opening track "Fortnight", which was released as the lead single, while the English indie rock band Florence and the Machine features on "Florida!!!".

Musically, the album is a synth-pop effort with rock and folk stylings, driven by synthesizers and drum machines alongside live instruments such as the piano and guitar. The subject matter of the songs delve into Swift's psyche and introspect on her public and private lives, blending sorrow and humor. Music critics received The Tortured Poets Department with mostly positive reviews, noting the cathartic, self-conscious songwriting and the understated production style, while some felt the album was not a musical evolution for Swift.

Commercially, the album broke a string of records. It surpassed Midnights to achieve the highest single-day streams for an album on the streaming platform Spotify, and marked the largest pre-order sum in the history of the retailer Target.

Background

Swift released her tenth studio album, Midnights, on October 21, 2022, to widespread commercial and critical success.[1] In 2023, she released two re-recorded albums, Speak Now (Taylor's Version) and 1989 (Taylor's Version), as part of her re-recording project.[2] On February 4, 2024, the day of the 66th Annual Grammy Awards where Midnights had been nominated, Swift teased the release of a new album by changing the profile pictures across her social media accounts to black-and-white. Fans speculated online that she was preparing to release Reputation (Taylor's Version), a forthcoming re-recording of her sixth studio album, Reputation (2017).[3] Swift's website also appeared as if it had malfunctioned, reporting an unusual non-standard HTTP status code 321, as well as error code "hneriergrd", which fans deciphered to be an anagram spelling "red herring."[4] The source code of the website contained non-English words.[5]

On February 4, 2024, Swift won the Grammy Award for Best Pop Vocal Album and Album of the Year for Midnights; in her acceptance speech for the former, she announced a new studio album that she had worked on since 2022,[6] titled The Tortured Poets Department, set for release on April 19, 2024.[7][8] The album cover artwork was posted to her social media accounts, along with a photograph of a handwritten note, which incorporated English translations of the words from the source code:[5][9]

And so I enter into evidence / My tarnished coat of arms / My muses, acquired like bruises / My talismans and charms / The tick, tick, tick of love bombs / My veins of pitch black ink / All's fair in love and poetry...

Sincerely, The Chairman of the Tortured Poets Department.[10]

Conception

Swift characterized The Tortured Poets Department as a "lifeline" album—one that she "really needed" to make.[11] She began conceiving the album immediately after submitting Midnights to her record label, Republic Records, and continued working on it in secret throughout the U.S. leg of the Eras Tour in 2023.[12] According to Swift, creating the album proved to her the integral role of songwriting in her life. She stated, "I have never had an album where I needed songwriting more than I needed it on Tortured Poets."[13]

In an Instagram post announcing the album's release, Swift further characterized the album as "an anthology of new works that reflect events, opinions and sentiments from a fleeting and fatalistic moment in time – one that was both sensational and sorrowful in equal measure."[14]

Music and lyrics

Man in a hat
Post Malone (pictured, left) features on "Fortnight", and Florence and the Machine (frontwoman Florence Welch pictured, right) features on "Florida!!!".

The Tortured Poets Department consists of sixteen standard songs and features two guest acts—the American rapper Post Malone on the lead single "Fortnight" and the English indie rock band Florence and the Machine, led by singer-songwriter Florence Welch, on the song "Florida!!!".[15] The album was primarily written by Swift with longtime collaborators Jack Antonoff and Aaron Dessner; Welch and Malone also co-wrote their respective collaborations with Swift.[16]

The album is mostly introspective storytelling.[17] Billboard opined that The Tortured Poets Department is modeled after the five stages of grief, a psychological theory proposed by Swiss-American psychiatrist Elisabeth Kübler-Ross in 1969, as speculated by a number of fans,[18] with "knowingly messy, wildly unguarded" songwriting.[19] The Tortured Poets Department is also characterized by its sense of meta-reference, fourth wall, and self-awareness; Business Insider journalist Callie Ahlgrim described the album's content as Swift's "messiest, horniest, and funniest", while Paul Bridgwater of The Line of Best Fit noticed underlying themes of anger and mourning.[20][21] In The Independent, Helen Brown suggested that Swift's songwriting draws on her country roots to explore longer narratives than did its predecessor, Midnights.[22] Josh Kupp of Uproxx, who dubbed the album a wordy, genre-less project, was amongst the critics who felt that the album abandons mainstream radio appeal.[17][20]

Critics described the standard edition as a synth-pop album[a] whose mid-tempo production incorporates prominent synths and drum machines.[26][27][28] Several tracks feature a more stripped-down instrumentation, driven by piano[23][26] or guitar,[29] with stylings of rock and folk.[20] Swift mostly sings in her lower vocal register to deliver rap-like, conversational verses.[26][30] The Guardian's Alexis Petridis wrote that its sound "splits the difference between the glossy 80s-influenced pop-rock of 1989 and the small-hours understatement of Midnights".[31] Writing for The Times, Will Hodgkinson described the album as an amalgam of synth-pop, 1980s power ballads, and "the emotional AOR of Stevie Nicks".[32]

The second part of the double album, subtitled The Anthology, mostly consists of piano ballads[33] that are instrumented with Dessner's picked acoustic guitar, soft piano, and subtle synths.[25] According to the BBC's Mark Savage, this second half features a more "sedate" sound that evokes Swift's 2020 albums, Folklore and Evermore.[34]

Title and artwork

The album's official logo features its abbreviated title.

The lack of an apostrophe in the official title, as in The Tortured Poets' Department, was the subject of a debate over grammatical correctness. Scholars stated that Swift employed Tortured Poets as an attributive noun, as in the case with the 1989 drama film Dead Poets Society, and not as a possessive noun that warrants an apostrophe.[35] A fan theory posits that the title of the album comes as a dig to a group chat shared between Andrew Scott, Paul Mescal, and Joe Alwyn titled "The Tortured Man Club." However, it is unclear whether or not this is the case.[36]

The cover artwork, photographed by American photographer Beth Garrabrant, is a black-and-white glamour photo shot of Swift lying on a bed wearing black lingerie: a see-through top and high waist shorts,[37][38][39] from the fashion labels The Row and Yves Saint Laurent.[38][40] Both the artwork and title were parodied by numerous brands, organizations, sports teams, and franchises, and inspired numerous memes.[41][42][43]

Promotion and release

The Tortured Poets Department was released on April 19, 2024, during National Poetry Month.[8] A double album edition, subtitled The Anthology and containing 15 bonus tracks, was surprise-released two hours later on the same day.[44] Swift revealed the standard track list and guest features on her social media on February 6, 2024.[15] Four physical editions of the album, each titled after and containing a bonus track, namely "The Manuscript", "The Bolter", "The Albatross", and "The Black Dog", was also be made available for purchase; Swift announced the latter three editions during the Asia-Pacific leg of the Eras Tour, her sixth headlining concert tour.[45] One of the collector's edition deluxe CDs of the album sold out on her website in its first two hours of availability.[46][47] Physical copies of the album also feature an original poem by Stevie Nicks.[48]

The album was promoted by digital service providers such as Apple Music, Spotify, YouTube, Instagram, and Threads. It included five Swift-curated Apple Music playlists inspired by the stages of grief and an Easter egg hunt for new lyrics within the playlists' songs;[49][50][51] a pop-up library of curated articles at The Grove, Los Angeles, hosted by Spotify;[52] QR code murals in various cities worldwide that lead to unlisted YouTube shorts on Swift's channel;[53][54] a countdown to the album's release revealed upon refreshing Swift's Instagram profile; and special shimmer effects on Threads posts tagged with hashtags related to Swift and the album.[55] Radio platforms iHeartRadio, which temporarily rebranded as iHeartTaylor, and Sirius XM also announced special programs in tribute of the album, featuring exclusive content from Swift.[56][57][58] NBC provided live updates on the album's release.[59]

The standard edition of the album was leaked in its entirety on April 17, 2024, two days before its official release,[60] which resulted in the phrase "Taylor Swift leak" being temporarily banned from searches on the social media platform X (formerly Twitter).[61] On April 18, Swift announced "Fortnight" as the lead single, released in conjunction with the album.[62] Later that day, Swift posted a teaser trailer for its accompanying music video, set for release on the album's release day.[63] Following several Easter eggs hinting to the number "2", including a countdown on Swift's Instagram page, The Anthology was released two hours after the standard edition.[64]

Critical reception

Professional ratings
Aggregate scores
SourceRating
AnyDecentMusic?8.0/10[65]
Metacritic84/100[66]
Review scores
SourceRating
Clash8/10[67]
The Daily Telegraph[b]
The Guardian[31]
The Independent[22]
NME[24]
Paste3.6/10[68]
Rolling Stone[c]
The Times[70]
Toronto Star[71]

According to the review aggregator Metacritic, The Tortured Poets Department received "universal acclaim" based on a weighted average score of 84 out of 100 from 12 critic scores.[66] A number of critics, such as The Independent's Helen Brown and The Times' Dan Cairns, praised the album's inventive musical composition, vocal stylings and lyrical tonality.[22][70]

Swift's intricate songwriting was often praised in the reviews. Bridgwater dubbed it Swift's most cohesive body of work to-date, finding the music sophisticated and the lyricism symbolic.[21] Ludovic Hunter-Tilney of Financial Times opined that the album shows her style evolving, ranging from "charmingly cheesy" to "moodily melodramatic", praising the writing as "characteristically appealing turn" from Swift.[72] Alexis Petridis of The Guardian opined that the album boasts Swift's witty, "most cutting" lyrics, featuring nuanced musical choices that shows Swift is "willing to take risks in a risk-averse era for pop".[31]

The mood and the uninhibited emotion of the lyrics were also a source of compliment. Writing for Rolling Stone, music journalist Rob Sheffield described the album as Swift's most personal, "wildly ambitious and gloriously chaotic" project.[69] Variety's Chris Willman agreed, calling it an "audacious, transfixing" project that combines "cleverness with catharsis".[23] He agreed with The Observer's Kitty Empire in that the album could be Swift's most "Swiftian" album.[73] Billboard editor Jason Lipshutz categorized the album as "unbridled emotion and unkempt drama",[19] whereas Clash's Lauren Webb dubbed it "a spell-binding, toxic, chaotic illustration of what floating adrift and losing yourself looks like."[67]

Several critics argued that Swift and Antonoff's collaboration on The Tortured Poets Department resulted in a sound that was similar to their past music, therefore appearing uninventive, as per The New York Times' Lindsay Zoladz,[74] NME's Laura Molloy,[24] and Stereogum's Tom Breihan, who suggested that it was Swift's "aesthetic comfort zone".[30] The New Yorker's Amanda Petrusich rather favored Dessner's input to the album as "gentler, more tender, and more surprising".[75] The BBC's Mark Savage additionally took issue with how "[Swift's] vocals mannerisms have become overly familiar".[34] Mary Kate Carr of The A.V. Club contended that despite being a "perfectly good album", The Tortured Poets Department arrived at a time when Swift is "left with nothing to prove", marking a stagnant point in her career.[76] In a negative review, Paste opined that the album is uninspiring, rubbish and mediocre.[68]

Commercial performance

On April 18, 2024, a day before the release, Spotify announced that The Tortured Poets Department broke the record for the most pre-saved album in the platform's history.[77] It was then announced that the album became 2024's most streamed album in a single day in less than 12 hours after its release.[78] The album became the first in Spotify history to surpass 200 and 300 million streams in one day, thus breaking the all-time record for most streamed album in a single day, previously held by Swift's own Midnights and helping her surpass her own all-time record for most streamed artist in a single day.[79] The album also became the most streamed album in a single day on Amazon Music with less than 12 hours of availability,[80] and surpassed Midnights to become the most streamed pop album in a single day on Apple Music.[81] Target Corporation confirmed that The Tortured Poets Department was its "largest music pre-order of all time".[82]

Track listing

The Tortured Poets Department standard edition track listing
No.TitleWriter(s)Producer(s)Length
1."Fortnight" (featuring Post Malone)
3:48
2."The Tortured Poets Department"
  • Swift
  • Antonoff
  • Swift
  • Antonoff
4:53
3."My Boy Only Breaks His Favorite Toys"Swift
  • Swift
  • Antonoff
3:23
4."Down Bad"
  • Swift
  • Antonoff
  • Swift
  • Antonoff
4:21
5."So Long, London"
  • Swift
  • Dessner
4:22
6."But Daddy I Love Him"
  • Swift
  • Dessner
  • Swift
  • Dessner
  • Antonoff
5:40
7."Fresh Out the Slammer"
  • Swift
  • Antonoff
  • Swift
  • Antonoff
3:30
8."Florida!!!" (featuring Florence and the Machine)
  • Swift
  • Antonoff
3:35
9."Guilty as Sin?"
  • Swift
  • Antonoff
  • Swift
  • Antonoff
4:14
10."Who's Afraid of Little Old Me?"Swift
  • Swift
  • Antonoff
5:34
11."I Can Fix Him (No Really I Can)"
  • Swift
  • Antonoff
  • Swift
  • Antonoff
2:36
12."Loml"
  • Swift
  • Dessner
  • Swift
  • Dessner
4:37
13."I Can Do It With a Broken Heart"
  • Swift
  • Antonoff
  • Swift
  • Antonoff
3:38
14."The Smallest Man Who Ever Lived"
  • Swift
  • Dessner
  • Swift
  • Dessner
4:05
15."The Alchemy"
  • Swift
  • Antonoff
  • Swift
  • Antonoff
3:16
16."Clara Bow"
  • Swift
  • Dessner
  • Swift
  • Dessner
3:36
Total length:65:08
The Tortured Poets Department: The Black Dog Edition
No.TitleWriter(s)Producer(s)Length
17."The Black Dog"Swift
  • Swift
  • Antonoff
3:58
Total length:69:06
The Tortured Poets Department: The Albatross Edition
No.TitleWriter(s)Producer(s)Length
17."The Albatross"
  • Swift
  • Dessner
  • Swift
  • Dessner
3:03
Total length:68:11
The Tortured Poets Department: The Bolter Edition
No.TitleWriter(s)Producer(s)Length
17."The Bolter"
  • Swift
  • Dessner
  • Swift
  • Dessner
3:58
Total length:69:06
The Tortured Poets Department: The Manuscript Edition
No.TitleWriter(s)Producer(s)Length
17."The Manuscript"Swift
  • Swift
  • Dessner
3:44
Total length:68:52
The Tortured Poets Department: The Anthology
No.TitleWriter(s)Producer(s)Length
17."The Black Dog"Swift
  • Swift
  • Antonoff
3:58
18."Imgonnagetyouback"
  • Swift
  • Antonoff
  • Swift
  • Antonoff
3:42
19."The Albatross"
  • Swift
  • Dessner
  • Swift
  • Dessner
3:03
20."Chloe or Sam or Sophia or Marcus"
  • Swift
  • Dessner
  • Swift
  • Dessner
3:33
21."How Did It End?"
  • Swift
  • Dessner
  • Swift
  • Dessner
3:58
22."So High School"
  • Swift
  • Dessner
  • Swift
  • Dessner
3:48
23."I Hate It Here"
  • Swift
  • Dessner
  • Swift
  • Dessner
4:03
24."Thank You Aimee"
  • Swift
  • Dessner
  • Swift
  • Dessner
  • Antonoff
4:23
25."I Look in People's Windows"
  • Swift
  • Antonoff
  • Patrik Berger
  • Swift
  • Antonoff
  • Berger
2:11
26."The Prophecy"
  • Swift
  • Dessner
  • Swift
  • Dessner
4:09
27."Cassandra"
  • Swift
  • Dessner
  • Swift
  • Dessner
4:00
28."Peter"Swift
  • Swift
  • Dessner
4:43
29."The Bolter"
  • Swift
  • Dessner
  • Swift
  • Dessner
3:58
30."Robin"
  • Swift
  • Dessner
  • Swift
  • Dessner
4:00
31."The Manuscript"Swift
  • Swift
  • Dessner
3:44
Total length:122:21

Notes

  • ^[a] signifies a vocal producer
  • "Loml" and "Imgonnagetyouback" are stylized in all lowercase.
  • "Thank You Aimee" is stylized as "thanK you aIMee".

Personnel

Musicians

  • Taylor Swift – vocals (all tracks), piano (tracks 3, 17), background vocals (17)
  • Jack Antonoff – synthesizer (tracks 1–4, 6–11, 13, 15, 17, 18, 25), programming (1–4, 6–11, 15, 17, 18, 24, 25), drums (1, 3, 4, 7–10, 13, 15, 17, 18, 24), electric guitar (1, 3, 6–11, 15, 17, 24), acoustic guitar (1, 6–9, 11, 17, 18, 25), piano (2, 4, 8, 10, 13, 17, 18), cello (2, 6, 8, 10, 15, 17, 24, 25), background vocals (2, 6, 15, 24), bass (3, 6, 8–11, 17), percussion (4, 7, 9, 11, 13, 15, 18, 24), Mellotron (6, 8, 10, 11, 17), organ (7), Rhodes (17), keyboards (18)
  • Sean Hutchinson – drums (1, 6, 10, 15, 17), percussion (4)
  • Post Malone – vocals (track 1)
  • Mikey Freedom Hart – acoustic guitar, bass, electric guitar, Hammond B3 (track 2); Mellotron (3), synthesizer (4, 6, 10), percussion (10)
  • Evan Smith – synthesizer (tracks 2, 6, 10), saxophone (4)
  • Zem Audu – synthesizer (tracks 2, 6, 10), saxophone (4)
  • Michael Riddleberger – drums (track 2), percussion (10)
  • Aaron Dessner – piano (tracks 5, 10, 12, 16, 19–23, 26–31), synthesizer (5, 12, 14, 16, 19–24, 26–28, 30, 31), drum programming (5, 14, 16, 19–24, 26, 28–30), electric guitar (5, 14, 19–23, 26, 27, 29, 30), acoustic guitar (6, 19, 20, 23, 24, 26, 29), keyboards (12, 19–22, 24, 26–28, 30), bass (14, 16, 20, 22, 28–30), percussion (16, 19, 20, 22–24, 26, 27, 29, 30), mandolin (20, 23, 24), synth bass (21, 22, 24, 27, 31), banjo (23, 24), drums (30)
  • Benjamin Lanz – synthesizer (tracks 5, 19–23, 27, 30), trombone (20, 22, 27), sequencer (22)
  • Bobby Hawk – strings (tracks 6, 9, 17)
  • Emily Jean Stone – oddities (track 8)
  • Florence Welch – vocals, drums, percussion, piano (track 8)
  • Glenn Kotche – drums, percussion (tracks 12, 16, 19–21, 23, 24, 26, 29, 30); snare drum, vibraphone (27)
  • Oli Jacobs – background vocals, percussion, spoken word (track 13)
  • James McAlister – synthesizer (tracks 14, 16, 21–23, 26, 27, 30), percussion (14, 16, 23, 26, 27, 29, 30), drums (14, 21, 22), electric guitar (14, 22), keyboards (16, 21, 26, 27), drum programming (19, 22, 26, 27, 31); acoustic guitar, synth bass (23); zither (26)
  • Rob Moose – viola, violin (tracks 14, 20)
  • Jason Slota – percussion (track 14)
  • Abi Hyde-Smith – cello (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Brian O'Kane – cello (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Max Ruisi – cello (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Reinoud Ford – cello (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Robert Ames – conductor (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Chris Kelly – double bass (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Dave Brown – double bass (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Sophie Roper – double bass (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Elisa Bergersen – viola (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Matthew Kettle – viola (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Morgan Goff – viola (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Nicholas Bootiman – viola (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Akiko Ishikawa – violin (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Cara Laskaris – violin (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Iona Allan – violin (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Kirsty Mangan – violin (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Nicole Crespo O'Donoghue – violin (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Ronald Long – violin (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Sophie Mather – violin (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Dan Oates – violin (tracks 16, 19, 21, 23, 24, 26, 27, 29, 30)
  • Eloisa-Fleur Thorn – violin (tracks 16, 19, 21, 23, 24, 26, 27, 29, 30)
  • Emily Holland – violin (tracks 16, 19, 21, 23, 24, 26, 27, 29, 30)
  • Anna de Bruin – violin (tracks 16, 19, 23, 24, 26, 27, 29–31)
  • Galya Bisengalieva – violin (tracks 16, 19, 21, 24, 26, 30)
  • Agata Daraskaite – violin (tracks 16, 19, 26, 27, 30)
  • Julian Azkoul – violin (tracks 16, 19, 26, 27, 30)
  • Amy Swain – viola (tracks 16, 19, 26, 27, 30)
  • J.T. Bates – drums (tracks 16, 20, 21, 26)
  • Thomas Barlett – synthesizer (tracks 16, 21, 23, 24, 26, 29–31); keyboards, piano (16, 21, 23, 24, 26, 29, 30)
  • Marianne Haynes – violin (tracks 16, 21, 23, 24, 29–31)
  • Jack Manning – piano (track 18)
  • George Barton – percussion (tracks 19, 23, 24, 26, 27, 31), timpani (30)
  • David McQueen – French horn (tracks 21, 23, 24, 26, 27, 29–31)
  • Alicia Berendse – violin (tracks 21, 24, 29–31)
  • Meghan Cassidy – viola (tracks 23, 29, 31)
  • Natasha Humphries – violin (tracks 23, 29, 31)
  • Jonathan Farey – French horn (tracks 24, 26, 27, 29–31)
  • Paul Cott – French horn (tracks 24, 26, 27, 29–31)
  • Patrik Berger – acoustic guitar (track 25)
  • Max Welford – bass clarinet (tracks 26, 29)
  • Vicky Lester – harp (track 30)
  • Bryce Dessner – drum programming, piano, synthesizer (track 31)

Technical

  • Randy Merrill – mastering
  • Ryan Smith – mastering
  • Serban Ghenea – mixing
  • Bryce Bordone – mix engineering
  • Laura Sisk – engineering (tracks 1–4, 6–11, 13, 15, 17, 18, 24, 25), vocal engineering (7, 9, 11, 12, 14, 15)
  • Oli Jacobs – engineering (tracks 1–4, 6–11, 13, 15, 17, 18, 24, 25)
  • Sean Hutchinson – engineering (tracks 1, 2, 4, 6, 10, 15, 17)
  • Michael Riddleberger – engineering (tracks 1, 2, 4, 6, 10, 17)
  • David Hart – engineering (tracks 2, 6, 10)
  • Evan Smith – engineering (tracks 2, 6, 10)
  • Mikey Freedom Hart – engineering (tracks 2, 6, 10)
  • Zem Audu – engineering (tracks 2, 6, 10)
  • Bella Blasko – engineering (tracks 5, 6, 10, 11, 14, 27, 28, 31), additional engineering (16, 19–24, 26, 29, 30)
  • Jonathan Low – engineering (tracks 5, 6, 10, 11, 16, 19–24, 26–30)
  • Aaron Dessner – engineering (tracks 5, 14)
  • Benjamin Lanz – engineering (tracks 5, 19, 20, 22, 23, 26, 27, 30)
  • Ben Loveland – engineering (track 8)
  • Joey Miller – engineering (track 10), engineering assistance (13)
  • James McAlister – engineering (tracks 14, 16, 19, 21–23, 26, 27, 29, 30)
  • Rob Moose – engineering, recording arrangement (track 14)
  • Jeremy Murphy – engineering (tracks 16, 19, 21, 23, 24, 26, 27, 29, 30)
  • Thomas Bartlett – engineering (tracks 16, 21, 23, 24, 26, 29, 30)
  • Maryam Qudus – engineering (tracks 20, 23, 24, 30)
  • Jack Antonoff – engineering (track 24)
  • Pat Burns – engineering (track 27)
  • Louis Bell – vocal engineering (track 1)
  • Christopher Rowe – vocal engineering (tracks 7, 9, 11, 12, 15, 20)
  • Beau Sorenson – additional engineering (track 14)
  • Bryce Dessner – recording arrangement (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Jack Manning – engineering assistance (tracks 1–4, 6–11, 13, 15, 17, 18, 25)
  • Jon Sher – engineering assistance (tracks 1–4, 6–11, 13, 15 17, 18, 25)
  • Lauren Marquez – engineering assistance (tracks 1, 13)
  • Jesse Snider – engineering assistance (tracks 7, 8, 10)
  • Joe Caldwell – engineering assistance (tracks 10, 13, 18, 24)
  • Rḗmy Dumelz – engineering assistance (track 11)
  • Laura Beck – engineering assistance (tracks 16, 19, 21, 23–27, 29–31)

Release history

The Tortured Poets Department release history
Region Date Format(s) Edition(s) Label Ref.
Various April 19, 2024
  • Standard
 Republic [83]
CD
  • Collector's deluxe
  • Digital download
  • streaming
 The Anthology [84]
United States
  • CD
  • vinyl LP
[85][86]
Japan April 20, 2024 CD
  • Standard
  • Japan deluxe
 Universal Japan [87]

Notes

  1. ^ As discussed by Variety's Chris Willman,[23] NME's Laura Molloy,[24] and The Daily Telegraph's Neil McCormick[25]
  2. ^ Neil McCormick from The Daily Telegraph rated the standard edition and The Anthology volume each with a 4/5 rating.[25]
  3. ^ Rob Sheffield from Rolling Stone rated the standard edition 5/5[69] and The Anthology volume 4/5.[33]

References

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  73. ^ Empire, Kitty (April 20, 2024). "Taylor Swift: The Tortured Poets Department review – a whole lotta love gone bad". The Guardian. ISSN 0261-3077. Retrieved April 20, 2024.
  74. ^ Zoladz, Lindsay (April 19, 2024). "Taylor Swift's New Album, The Tortured Poets Department, Could Use an Editor: Review". The New York Times. Retrieved April 20, 2024.
  75. ^ Petrusich, Amanda (April 19, 2024). "The Tortured Poetry of Taylor Swift's New Album". The New Yorker. Retrieved April 20, 2024.
  76. ^ Carr, Mary Kate (April 19, 2024). "Taylor Swift's The Tortured Poets Department Is Stuck in the Past". The A.V. Club. Archived from the original on April 19, 2024. Retrieved April 19, 2024.
  77. ^ Dailey, Hannah (April 18, 2024). "Taylor Swift's 'Tortured Poets' Breaks Spotify Record for Most Pre-Saved Album Countdown". Billboard. Archived from the original on April 18, 2024. Retrieved April 18, 2024.
  78. ^ Denis, Kyle (April 19, 2024). "Taylor Swift's 'Tortured Poets Department' Breaks a Major Spotify Record in Less Than 12 Hours". Billboard. Archived from the original on April 19, 2024. Retrieved April 19, 2024.
  79. ^ Willman, Chris (April 20, 2024). "Taylor Swift's Record-Breaking First Day at Spotify With 'Tortured Poets' Didn't Stop at 200 Million Streams — It Actually Surpassed 300 Million". Variety. Retrieved April 20, 2024.
  80. ^ Ellis, Maddie (April 19, 2024). "'Tortured Poets Department' breaks another record". Today. Archived from the original on April 19, 2024. Retrieved April 19, 2024.
  81. ^ "Instagram". www.instagram.com. Archived from the original on April 20, 2024. Retrieved April 20, 2024.
  82. ^ "Target's version of 'The Tortured Poets Department' contains two intimate poems: Read them here". Today. April 19, 2024. Archived from the original on April 19, 2024. Retrieved April 20, 2024.
  83. ^ The Tortured Poets Department release formats:
  84. ^ Zemler, Emily (April 19, 2024). "Taylor Swift Unveils Double Album 'The Tortured Poets Department: The Anthology'". Rolling Stone. Archived from the original on April 19, 2024. Retrieved April 19, 2024.
  85. ^ Tingley, Anna (March 12, 2024). "Taylor Swift's 'Tortured Poets Department' Gets Target-Exclusive Phantom Clear Vinyl, Including 24-Page Jacket and Rare Photos". Variety. Archived from the original on March 16, 2024. Retrieved March 16, 2024.
  86. ^ "Taylor Swift – The Tortured Poets Department + Bonus Track "The Albatross" (Target Exclusive, CD)". Target Corporation. Archived from the original on April 14, 2024. Retrieved April 14, 2024.
  87. ^ "ニューアルバム国内盤『ザ・トーチャード・ポエッツ・デパートメント』の先着特典が決定! (追記3/21) ＜通常盤＞購入特典「ポストカード」の店別デザイン決定!" (in Japanese). Universal Music Japan. March 18, 2024. Archived from the original on March 19, 2024. Retrieved March 19, 2024.
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