i write.
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Dylan O'Brien auditioning for All Too Well: The Short Film
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oh, goddamn my pain fits in the palm of your freezing hand taking mine, but it’s been promised to another
oh, I can’t stop you putting roots in my dreamland my house of stone, your ivy grows and now I’m covered in you
what would he do if he found us out? // he’s gonna burn this house to the ground
how’s one to know? I’d live and die for moments that we stole on begged and borrowed time
Oh, I can’t stop you putting roots in my dreamland my house of stone, your ivy grows and now I’m covered in you, in you now I’m covered in you in you
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— taylor swift, from “ivy” (2020)
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“The most striking difference between ‘Folklore’ and ‘Evermore’, though, is that, occasionally, the new album sees her reaching for fizzing pop heights again. Both ‘Gold Rush’ (co-written with Antonoff) and ‘Long Story Short’ add a layer of ‘1989’-style gloss to the proceedings, imbuing Swift’s ‘folklorian’ sound with a dash of the ‘80s-inspired synth-pop that coursed through that 2014 album. Both tracks feel like they could explode into a banging, stadium-ready chorus if placed into the hands of pop master-producer Max Martin chorus, but instead pull it back at the last minute and favour subtlety.”
— ‘Evermore’ review: the freewheeling younger sibling to ‘Folklore’ (NME)
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evermore // first and last lyric
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Just a friendly reminder that you’re allowed to make a big deal out of things that feel really big to you even if it might not seem as big to others.
(via youwill-bealwaysmyworld)
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we were something, don’t you think so?
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‘cause I knew you
steppin’ on the last train
marked me like a bloodstain, i
i knew you
tried to change the ending
peter losing wendy, i
i knew you
leavin’ like a father
running like water, i
and when you are young, they assume you know nothing -
In the garden, would you trust me
If I told you it was just a summer thing? -
Taylor at the folklore secret sessions
