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“Indestructible” describes how she hasn’t been lucky in love but that she’s going to give it her all this time like nothing can break her but then she wants to get on a DeLorean to go back in time and take back the words she said which drove away her partner in “Time Machine.” She warns people about love’s dangers in “Love Kills” and confesses how she’s afraid of love in “Hang With Me.” This gives way to electropop ballad “Call Your Girlfriend” where Robyn implores her new love to break up with an old girlfriend and to do so gently, implying she’s been on the other side of this kind of love triangle. “Dancing On My Own” tells the familiar story of going out and seeing the one you want with someone else, highlighted by pulsing beats and Robyn’s smooth vocals. It desperately needs a repress as the going prices for the 2xLP on Discogs are insane but if you have the money get on it.
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Robyn’s Body Talk (2010) compiles some of the tracks off of her three mini-albums released earlier that year and adds additional ones creating an album that is pure dance-pop genius. This rejection comes again in “For Emma” with an imagined dialogue between a man and woman where she says, “go find another lover/to bring a… to string along!” For those empty moments when there’s nothing but regret, For Emma helps fill the void.ĭance-away-the-blues songs are an age-old tradition because let’s face it, there’s only so much staring-at-the-ceiling-until-the-hurt-consumes-you one can take. Or with the line “I was teased by your blouse/spit out by your mouth” (“Creature Fear”) Vernon talks of being focused on physical connection but is rejected. We can find clues to Vernon’s state of mind in single “Skinny Love” and opening line “come on skinny love just last the year,” where he’s straining to keep alive a relationship that should best be ended. The lyrical content is mostly abstract but as with the best songs, sometimes it’s not about singing along but how the overall sound makes you feel. For Emma, Forever Ago is both claustrophobic and wide open with Vernon’s experimental falsetto, rhythmic guitar strumming, and choral arrangements. The cover art says it all: the view outside is obscured by a frosted window, knowing all that’s out there is cold winter loneliness, the same as inside that cabin. You know the story: a sick Justin Vernon breaks up with his band and girlfriend, holes up in his dad’s hunting cabin during a Wisconsin winter and records one of the best folk albums to come out of 2007. But the absolute highlight is the breakup anthem, “We Are Never Ever Getting Back Together.” Cue this album when you’re ready to burn your ex’s belongings in effigy. It’s hard to be blue when you’ve got epic rocker “State of Grace” opening the album or the pop perfection of “22,” in which Swift revels in and feels nostalgic about her own youth.
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She demonstrates more mature songwriting in this album and we believe her when she talks about being tempted by bad relationships in “Treacherous” and “I Knew You Were Trouble,” the ending of a serious romance in “The Last Time,” or longing for a lost love in “Sad Beautiful Tragic.” Red is the album for all those who ever went through a breakup and just want to drive around, windows down, loudly singing along to the radio or for all those who, after spending days locked up in their room crying over an ex, walk out into the rest of the house feeling bruised but ready to open windows to breathe in fresh air. Taylor Swift, having endured fame’s pressures and her fair share of heartbreak, released Red in 2012, her follow-up to Speak Now. The helplessness expressed with “losing strength in every hand/they can’t hold you anymore/already dead to me now/already dead to me now/’cuz it feels like I’m watching something die” (“Already Dead”) makes you just want to give the guy a hug. It is sonically lush and engrosses you with Beck’s tired voice and lines like “it’s only lies that I’m living/it’s only tears that I’m crying/it’s only you that I’m losing” (“Guess I’m Doing Fine”). The production is reminiscent of an Air album if the French duo had their hearts ripped out of their chests and incinerated, with the ashes scattered along desolate desert highways. We already knew that Beck was capable of a variety of music but for every folk-inspired tune there’s a funky banger with offbeat lyrics, making us wonder whether he could ever be revealing of himself. Instead of writing vitriolic diatribes and other anger-fueled accusations Beck wrote songs filled with such utter heartbreak there’s no room for anything else. Imagine finding out your significant other cheated on you and then writing songs in the aftermath of this discovery and breakup. These are words to describe Beck’s Sea Change (2002).