An Album Parallel Between Taylor Swift and Biffy Clyro

Ok, hear me out. I've realised there's a peculiar parallel in the album careers of Taylor Swift and Biffy Clyro. Is this cutting edge, world-changing research? No. Is this information that anyone at all would be interested in? Perhaps not. Does this even make sense to anyone else? I hope so.

I'd love for you to do me the honour of reading on.

Ok, so what the hell do I even mean by this? Each has released nine studio albums in their respective careers to date and it's slightly spooky how these have mirrored each other:

Taylor Swift/Fearless/Speak Now and Blackened Sky/The Vertigo Of Bliss/Infinity Land

Ok, so it's very harsh to suggest that these six albums are any 'lesser' than anything that came after (they're 100% not) however, for the sake of this theory we begin by saying that the first three albums in each career were well-received but largely kept Swift and Biffy in their own respective genres, without a massive amount of crossover appeal. Swift's first three largely stick to her country roots whilst Biffy's are wiggly art-rock. There are fan favourites here but, I suspect, the more casual punters out there may not even realise these albums exist.

Red and Puzzle

The beginnings of a more commercial breakthrough. Pop sounds embraced on a pair of albums probably held dear as 'the best' of each by the hardcore fans. Still not arena-baiting just yet, but enough to hit the radio.

1989 and Only Revolutions

The big commercial hits. The ones you'll find in your mum's CD collection. Shooting Swift to stadiums and Biffy to the X Factor (Many Of Horror switched to When We Collide for a winner's single for Matt Cardle.) You'll still hear plenty of the songs from these at those arena shows.

Reputation and Opposites

Hugely successful because they were released after big titans but now largely out of favour. Reputation is somewhat scorned now but I feel it is hugely underrated (indeed, The Brighton Film Club even posted a YouTube video about this) and Opposites has fallen down the pecking order due to its status as a double album. So much to explore on both of these with a broadening of the sound for both and dives into new territory. Signs of the inevitable fallout of success, sure, but all the more human for it.

Lover and Ellipsis

Restoring favour with critics and audiences but very much playing it safe. At the time of release both were celebrated but now, in hindsight, largely ignored. Lover was a little too bland, too conventional and Ellipsis was a little of the same albeit with some very strong moments.

Folklore/Evermore and A Celebration Of Endings/The Myth Of The Happily Ever After

After cresting a wave of success, both were perhaps falling a tiny bit out of favour and then... Covid. The lockdown seemed to restore the public image of both. Swift's Miss Americana documentary was fantastic and her 'indie-folk' companion albums with Jack Antonoff and Aaron Dessner assisting gave her some of the best reviews of her career. Likewise, Biffy embraced the lockdown connecting with fans on weekly live videos and song tutorials and hitting the studio and running wild with fresh ideas. Sure, there's a fair amount of proggy noodling on both of their albums which won't be to all tastes but it very much sounds like they enjoyed making them (their own documentary suggests as much.) Both appear to be in a place to come out of Covid on top of their respective genres.

So, there you have it, a peculiar little album parallel between two amazing artists. Do you see the connection?