Whether positive or negative, the cultural presence Taylor Swift has created is undeniable. Often portrayed as America’s country-crooning sweetheart, or the serial-dating, perpetually broken-hearted “ex” who uses song lyrics for cheap shots in revenge, Swift’s newest album is a step away from either stereotype.
The album, “1989,” is a whole different animal: something unseen in her career thus far. This fifth album is the culmination of her move to New York and recent singleness. It’s not country, but the change to pop is intuitive as “1989” is the evolution of her last album, “Red.”
Swift already had her foot in the door of pop music. “Red” showed listeners “I Knew You Were Trouble,” and “We Are Never Ever Getting Back Together.” “Shake It Off” is her newest album’s answer to these — the next level of her previous dance-pop hits. The kind of musical number best enjoyed while blasted at full-volume driving down the road, this song dares us to doubt Swift. The song is reminiscent of “Mean,” as she addresses her naysayers with lyrics like, “I stay out too late/Got nothing in my brain/I go on too many dates/But I can’t make them stay/That’s what people say.” This song is fast, upbeat and energetic. The ultimate happy-pop dancing song, the catchiness factor relies on Swift’s power as a producer. Between the perfectly-timed transition into the chorus, and breathy vocals, “Shake It Off” is easily the happiest song on the album. Further proof of the silliness is derived from the recently released music video, in which Swift changes from multiple dancing personas, from a ballerina, rap-star, cheerleader and finally ribbon-twirler. This song doesn’t take itself too seriously, and it’s a clear —if not a bit self-indulgent— reminder to the haters that Swift’s here to stay, stay, stay.
In her next single, “Blank Space,” Taylor Swift addresses the perpetual power-struggle that often occurs in the beginning of a new relationship. Through her lyrics, she takes us through a first date “new money/suit and tie/I can read you like a magazine,” and the ensuing struggle as both parties question each other’s motives.
But this love ballad is less of an exercise in denial than one in hope. After all, what’s more encouraging than a supposed “blank space?” In addressing her “long list of ex-lovers,” Swift questions how her love-life has become something of a national pastime and baits this newcomer to be her next.
“Bad Blood” is Swift’s most heated ballad. The public’s interest in the song peaked immensely when she announced to Rolling Stone in September that “Bad Blood” was about a fellow female pop star. However, her intention was not to point fingers, but rather create a sound that her betrayed fans could relate to.
In vague, throaty vocals, the lyrics beckon said betrayer to “take a look what you’ve done/because baby now we’ve got bad blood/now we got problems/I don’t think we could solve them.” The chorus is a sequenced loop, the kind of graceful hook used in many of Swift’s songs. The drumbeat in the background and menacing shouts of “hey” combine illustrate Swift’s frustration with the backstabbing.
“1989” is Swift’s answer to those who questioned her next career move. In her most-processed pop songs yet, she maintains her credibility, and (perhaps most importantly) likeability. The album reflects the red-lipped, stiletto-heeled, single-girl spin of this newest chapter from Swift, a path which certainly looks promising. You can find “1989,” released Oct. 27, on iTunes and in Target now.
