资料来自metacritic网站
https://www.metacritic.com/music/midnights/taylor-swift/critic-reviews
The Independent (UK) / Rolling Stone / The Guardian ：100
Variety：93
Los Angeles Times / Spin / American Songwriter ：90
Entertainment Weekly：83
The A.V. Club：83
Clash Music / DIY Magazine / The Telegraph (UK) / New Musical Express ：80
Beats Per Minute / Paste Magazine ：78
Consequence：75
Exclaim / Pitchfork / Slant Magazine / The Line of Best Fit ：70
New York Times：50
Sputnikmusic：48
R
olling Stone：100
Taylor Swift Lets Us Into Her Darkest Dreams On ‘Midnights’
Her tenth album returns to the dazzling synth-pop of records like '1989' and 'Reputation,' with lyrics caught between a love story and a revenge plot.
Taylor Swift的第十张专辑回归到《1989》和《Reputation》令人眼花缭乱的合成流行音乐，歌词游离在爱情故事和复仇情节之间。
Midnights may come as a surprise to the most newly turned fans of her music, those who only learned to like her songwriting when it came in the traditionally respectable Folklore/Evermore package. But like many of her purely “pop” releases in the past, Midnights leaves more and more to be uncovered beneath the purple-blue synth fog on the surface. And maybe that’s part of her scheme to begin with.
《Midnights》可能会让她的新粉丝感到惊讶，他们可能从《Folklore》《Evermore》开始才喜欢她的歌曲创作。但就像她过去发行的许多纯“流行”专辑一样，《Midnights》在表面的蓝紫色烟雾之下还有许多东西可以探索。也许这就是她最初计划的一部分。
https://www.rollingstone.com/music/music-album-reviews/taylor-swift-midnights-1234611211/
Los Angeles Times：90
Out of the woods, Taylor Swift’s ‘Midnights’ heralds the return of a pop-music mastermind
Pondering the delights and the anxieties of her own celebrity has been a hallmark of Swift’s work for years — or at least it was until 2020, when she set aside much of the autobiographical life-of-a-pop-star stuff for the ostensibly fictional character-driven narratives of her twin pandemic albums, “Folklore” and “Evermore.” Full of songs about small-town grifters and awkward high-school kids and unhappily married people — even a murderer — those projects also radically recast her sound, veering away from the synthed-up productions that sent her up the Hot 100 toward a rootsy, mostly acoustic vibe she formulated with Aaron Dessner of the indie-rock band the National.
多年来，思考成名带来的喜悦和焦虑一直是Swift作品的标志之一，至少在2020年之前是这样的。2020年新冠疫情期间，她放弃了很多流行明星自传式的元素，转而创作了《Folklore》和《Evermore》。这两张专辑表面上都是虚构的人物叙事，充满了关于小镇骗子、笨拙的高中生、不幸的已婚人士，甚至是杀人犯的歌曲。这些作品重塑了她的音乐，从登上Hot 100的合成作品转向了与独立摇滚乐队the National的Aaron Dessner共同创造的一种基本的、主体为原声的音乐氛围。
Swift suggested that the isolation of the pandemic had set her imagination free. Yet “Midnights,” her 10th studio full-length, returns to an earlier Swift mode in both sonic and lyrical terms: This 13-track set, which she produced with her longtime creative partner Jack Antonoff, feels like it picks up right where 2014’s “1989” and 2017’s “Reputation” left off, with slick, beat-heavy arrangements that seem dimly aware of hip-hop’s existence and with lyrics peppered with juicy allusions to Swift’s various high-profile feuds and love affairs.
Swift表示，新冠疫情的隔离让她的想象力得到了自由。然而，作为她的第10张录音室专辑，《Midnights》在音色和歌词方面都回归了她早期的模式。她与长期创作伙伴Jack Antonoff共同制作的13首歌曲，感觉就像从2014年的《1989》和2017年的《Reputation》结束的地方重新开始，节奏轻快的编曲隐约包含了hip-hop的元素，歌词充满了对她各种高调的纠纷和恋情的生动暗示。
https://www.latimes.com/entertainment-arts/music/story/2022-10-20/taylor-swift-midnights-album-review
American Songwriter：90（4.5 out of 5）
Taylor Swift Delivers Her Dreamiest and Most Introspective Album to Date with ‘Midnights’
Midnights is a golden thread tying where Swift has been and where she’s going—referencing her old material while still making leaps and bounds forward. Because it’s Swift, we have to assume that all of that was by design. As she remarks in the album’s closer, “Mastermind,” none of it was accidental.
《Midnights》就像一根金色的丝线，将Swift的过去和未来联系在了一起，她参考了过去的作品，同时又取得了长足的进步。因为她是Taylor Swift，我们不得不猜测这一切都是设计好的。正如她在专辑的结尾《Mastermind》中提到的：这一切都不是偶然的。
https://americansongwriter.com/review-taylor-swift-delivers-her-dreamiest-and-most-introspective-album-to-date-with-midnights/
The Telegraph (UK)：80
On Midnights, Taylor Swift kisses goodbye to the crowd-pleasing hit
Swift fans will love this album, which offers an array of insights into their heroine crafted as clever pop songs. Yet it also suggests an artist betwixt and between, uncertain whether to press deeper into intimate songcraft or restart a commercial juggernaut.
粉丝们一定会喜欢这张专辑，因为这张专辑提供了对TS的一系列洞察，这些洞察被制作成精致的流行歌曲。然而，它也表明艺术家在两者之间摇摆，到底是更深入地推进歌曲创作，还是成为一名商业巨头。
A singer-songwriter who has thrived writing about crisis and conflict in her love life, Swift now finds herself negotiating domestic contentment. It is a dilemma that gives the album its best song, Sweet Nothing, representing Swift at her least dramatic, a gossamer-light, flyaway ballad on which she sounds like she’s not trying too hard to craft something clever or commercial, just to tell it as it is.
Swift是一名创作型歌手，擅长描写爱情生活中的危机和冲突，但现在她正在寻求家庭的满足，这一困境使这张专辑最好的歌曲《Sweet Nothing》得以产生。这首歌代表了Swift最不具戏剧性的一面，只是一首轻飘飘的民谣，她没有太努力地去制作巧妙或商业化的东西，只是顺其自然地表达出来。
Midnights represents Swift at a turning point. I am not sure if it is the sign of a curtain falling on her imperial phase or a new pop dawn.
《Midnights》是Swift的转折点，我不确定这是她统治时期帷幕落下的迹象，还是新的流行音乐的曙光。
https://www.telegraph.co.uk/music/what-to-listen-to/taylor-swift-midnights-album-review-pop-queen-kisses-goodbye/
Pitchfork：70（
7.0 out of 10）
More interested in setting atmosphere than chasing trends, Taylor Swift’s 10th album pursues a newly subdued and amorphous pop sound.
Midnights is about reflection, not reinvention. Taylor Swift has explained that at length, in her own flowery vernacular: These 13 songs are “a collection of music written in the middle of the night, a journey through terrors and sweet dreams.” The thoughts that keep the 32-year-old songwriter up late are the ones she’s spent nine albums excavating: the unpredictable rise and devastating fall of romance; the binary of the “good girl” and the “bad girl,” and the chafing of societal expectation (that “1950s shit”); and the uncomfortable acceptance of her own fallibility. Life, she declares, “is emotionally abusive.”
《Midnights》的主题是反思，而不是重塑。 Taylor Swift解释说：这13首歌是在午夜创作的音乐合集，是一段穿越恐惧和甜蜜梦境的旅程。 让这位32岁的词曲作者熬夜的想法是她用9张专辑来挖掘的：浪漫的崛起和衰落、 好女孩和坏女孩的二元性、社会期望的摩擦 以及对自身错误的接受。 她宣称：生活，在情感上是折磨人心的。
Midnights is Swift’s first album to be recorded entirely with Jack Antonoff, after nearly a decade of ever higher-profile collaborations. In the past, he has accentuated Swift’s ambitiously vivid storytelling with expressive, technicolor synth pop. Here, in accordance with the lateness of the hour, they explore moodier, more subdued hues. Built around vocal effects and vintage synths, it’s an understated sound more interested in setting atmosphere than chasing trends.
《Midnights》是Swift第一张完全与Jack Antonoff合作的专辑，此前近十年，他们一直高调合作。 过去，他曾用富有表现力、色彩缤纷的合成器流行音乐来强调Swift有野心的生动叙事。 在这张专辑，他们探索了更忧郁、更柔和的色调。专辑通过 音响效果和复古合成器表达了一种低调的声音，相比追逐潮流，他们对营造氛围更感兴趣。
On the mid-album centerpiece “Midnight Rain,” against a backdrop as crystalline as the titular weather, Swift examines the pursuit of career over partnership. Exaggerating her natural uptalk, the production morphs her voice into a dramatic slant: “He wanted comfortable/I wanted that pain.” The woozy “Snow on the Beach” sketches an image of strange beauty in twinkling synth and violin, as Lana Del Rey’s warm background harmonies add a welcome coziness.
在专辑的重头戏《Midnight Rain》中，在清澈的背景音中，Swift审视了自己相比对事业的追求胜过对合作的追求。（这里不知道怎么直译比较好，男声好像是经过女声降调处理得到的） 令人晕眩的《Snow on The Beach》用合成器和小提琴中勾勒出一种奇异的美丽形象，同时，Lana Del Rey温暖的背景和声增添了舒适感。
On 2020’s Folklore and Evermore, Swift stepped away from autobiographical songwriting and found new depths of feeling in fictional narratives. For perhaps the first time in a career built on curated lyrical bloodletting, she gave herself the gift of emotional distance. With Midnights, she returns to a diaristic style, addressing the central conflict of Taylor Swift, the individual and the persona: She’s self-conscious to a fault but rarely self-aware.
在2020年的《Folklore》和《Evermore》中，Swift脱离了自传式的歌曲创作，在虚构的叙事中找到了新的情感深度。 在以抒情杀手锏为基础的职业生涯中，这或许是她第一次赋予自己情感上的距离。 在《Midnights》中，她回到了日记式的风格，试图解决自己的核心冲突：她认识到了错误，但她很少在意。
https://pitchfork.com/reviews/albums/taylor-swift-midnights/
New York Times：50
Taylor Swift, Caught Between Yesterday and Tomorrow on ‘Midnights’
There are songs on “Midnights” — “Midnight Rain,” “Lavender Haze” — that suggest an awareness of the ways Drake and the Weeknd have deployed overcast mood in their vocal and musical production, though she rarely commits. And she rather steadfastly has resisted a return to country, or pop-country, or countrypop.
《Midnight Rain》和《Lavender Haze》采用了与Drake和The Weekend相似的方式，在声乐和制作中营造出一种阴郁的氛围，虽然她没有承认这点。她相当坚决地抵制回归乡村音乐、以及乡村与流行结合的音乐。
But a template for such a perspective-twisting album already exists: It’s called “Reputation,” and Swift released it in 2017. It was, at the time, somewhat derided, and deeply wrongly at that. Rarely has Swift sounded so amused, so aggrieved, so willing to reckon with the chasm between her self-perception and the perception of everyone else. It was a rowdy, sticky and unrelentingly clever album in which Swift took on herself, and also the world. “Taylor Swift” — bring her back.
不过，这种转型的专辑已经存在了，就是2017年发行的《Reputation》（当时，《Reputation》 受到了嘲笑，事实上那种偏见大错特错。）《Midnights》表现出Swift少见的， 如此开心、如此委屈、如此愿意正视自我认知和他人认知之间的鸿沟的一面。 这是一张喧闹的、甜腻的、非常聪明的专辑。请回来吧，从前的Taylor Swift 。
https://www.nytimes.com/2022/10/21/arts/music/taylor-swift-midnights-review.html