I was never a Taylor Swift fan, and honestly, I could’ve cared less about 1989 if it weren’t for all the hype around “New Taylor”. Her smashing summer single “Shake It Off” had raised some interest for me, but it wasn’t until I heard the sweet simplicity of “Blank Space” that I was dead set on giving Taylor a chance. 1989 is a synth-ful pop album that could’ve existed in the decade it’s named after. Lyrically, Swift matches the typical themes she’s covered before: love, heartbreak, adjustment, and just having fun! It explodes with thick beats and sways with shimmering pads, straying away from acoustic guitars and her norm. Swift opens the album with “Welcome To New York”, a very 80’s pop track to document her recent move to the city that never sleeps. In a sense, this prologue is a metaphor to Swift’s new pumped up synth-pop sound that masks the whole album. Change can be difficult, especially in music, when fans become so accustomed to an artists signature style or sound. Swift isn’t too worried though as she sings, “Like any great love/It keeps you guessing, Like any real love/It’s ever changing”. She’s older, she’s wiser, and she’s going to make the music she wants!
From there we move into the second single “Blank Space”. It’s a soft revealing track with a touch of fun and several ‘tweet worthy’ lines. More than likely the most quoted lyric to come will be “‘Cause darling I’m a nightmare dressed like a daydream”. This second single is definitely the hook for those who’ve wanted something different from Taylor (much like myself). The next stand out is “Out Of The Woods”, a heavy beating track that sounds like it could be a cover of something done by CHVRCHES. The chorus is repetitive and mimicked by the pulsing bass and percussions that carry through the whole song. Swift tells the anecdote of a former love (but which one of Taylor’s many flings is it?). It hits home and it’s real and after hearing it I was fully open to the possibility of being a new T-Swift fan girl! “Shake It Off” arrives on the track list and you already know what to expect from its radio abuse. Though it may be over played, I find myself lip-syncing along to every lyric (that I confidently know) and shaking my hips every which way they’ll move!
“I Wish You Would” is up next with a groovy guitar and a strong punchy chorus. It’s a song about longing, but moves at a pace that doesn’t let you look back. In my opinion, Swift could’ve turned this into a beautiful, shimmering, punch-drunk power balled, and it would fit its context better. However, it definitely brings you back to that 80s feel with it’s explosive drums. Taylor is good at creating a scene, but I never find myself fully impressed or captivated by her writing style. I did manage to find myself fixated on “Wildest Dreams”. It’s no less literal or descriptive as the other tracks, but Swift’s delivery is airy and sultry. It meshes with the undemanding subtle production to create a delicate request to the mystery man she’s addressing. “Say you’ll see me again even if it’s just pretend,” she sings in the hopes of not being forgotten (a fear we all low-key have about our ex’s). The slowest song on the album “This Love” comes in the second half and bears the highest resemblance to “Old Taylor”. Swift holds the track to the same pulsing bass and drum machine kicks that are seen throughout. The thing is, this track could’ve done without. Sure, she’s trying to unify her work or reinvent herself as a sparkling synth-queen, but a throwback to a more naturalistic Taylor would’ve been a nice gesture to “This Love” and those fans who aren’t ready to fully commit to the new.
As the album reaches the end, Taylor keeps up the energy and interest with “Wonderland”. Take the chorus of “I Knew You Were Trouble” and then multiply that by eight. Pounding kicks and hits lead you through the almost vengeful verse where she admits the faults in this relationship, “I felt your arms twisting around me/I should’ve slept with one eye open at night”. Swift brings her album to this current decade with a post-dub synth that roars and wobbles. You get a sense of anger, but also understanding, as it goes from aggressive motions into a softer more exposed chorus. The last track is “New Romantics” and as much as I hate to admit it, I love it! It’s the new anthem for best-friends to blast while they pre-game for a party. Don’t be surprised when you start seeing “New Romantics” in the bio of twitter profiles (I considered it just after seeing the name). It’s the perfect track to close the album. I find it rhythmically the most interesting and most memorable. It’s single worthy and I’d be surprised if it never makes it to the radio.
I was overall astonished by how much I enjoyed 1989 because I never thought I would admit that I was a Taylor Swift fan. New Taylor is the same old Taylor, just behind more synths and drum-machines. She’s still singing about the same things, she’s still wearing her red lips, and she’s still topping the charts. You find traces of the guitar she used to cry on mixed with lush beating sounds and chants for effect. As far as the new thing goes, Swift is not creating anything truly innovative (but rarely does that happen with music these days). No matter what you want to consider this album, you have to admit that it’s totally stellar!