But Swift avoided that fate entirely with this album, making her rare ability to write for multiple audiences and ages even more universal. Its melody has more air and fewer syllables, and Heap’s influence is obvious in the warm electronic setting and the lyrics, heavy on metaphors of drowning and addiction, and lines like “You’re still all over me like a wine-stained dress I can’t wear anymore.” Swift’s growing up, alright.īig Ten Mascots Dance Around to Taylor Swift’s ‘Shake It Off’Ī clean break with the core audience is a risky move for any artist: At worst, it’s like ill-advised plastic surgery, a blandifying of the distinctive qualities and quirks that made the person interesting in the first place. “Clean” is an aching, bittersweet team-up with esoteric British alt-popper Imogen Heap where Swift surrenders more to her collaborator than on any other song on the album.
Swift saves the most unexpected pairing for the last, show-stopping cut on the album’s standard edition (the Target version includes three bonus tracks, along with fascinating work-in-progress phone recordings of three songs).
How Taylor Swift Got Mark Romanek to Direct ‘Shake It Off’ Surprisingly, the famous figure who gets the most elaborate attention is Lana Del Rey: Swift flat-out mimics her on “Wildest Dreams,” flitting between a fluttery soprano and deadpan alto, flipping lyrics so Lana - “His hands are in my hair, his clothes are in my room” - that it’s hard to tell if the song is homage or parody. Lyrical references to him are all over the album: There are several vehicular-mishap analogies (the pair were in a snowmobile accident in 2013) and even a song called “Style.” But Swift has said the LP’s most bitter song, “Bad Blood,” a simplistic anthem of betrayal that sounds reminiscent of Gwen Stefani‘s “Hollaback Girl,” is directed not at an ex-lover but a shade-throwing female peer (consensus points to Katy Perry). Swift says she has hardly dated since splitting with One Direction‘s Harry Styles early in 2013, and the songs’ musical styles follow the character types she plays on the album: train wreck waiting to happen (“Blank Space”), committed partner (“I Know Places,” “This Love”), penitent breaker-upper (“I Wish You Would”), spurned break-upee (“All You Had to Do Was Stay”). Taylor Swift’s ‘Shake It Off’ Single Review: The Country Superstar Goes Full Popįrom there, in signature Swift style, it’s almost all love - or at least relationship-based - songs. The self-referential change-of-scenery theme is set with the opening “Welcome to New York.” Its new-wave hook and innocent lyrics - “The lights are so bright, but they never blind me” - make it the ideal anthem for an Anne Hathaway film, or any 24-year-old moving to the big city, as Swift recently has (albeit into a $20 million Tribeca penthouse).
But Martin and other key collaborators (including Shellback, Ryan Tedder and fun.‘s Jack Antonoff) have helped hone her songs, which are more seasoned and subtle, less bubbly and bratty, than in the past. The songwriting is still unmistakably Swift, with her polysyllabic melodies and playful/-provocative lyrics. Taylor Swift Sprints Forward on ‘Out Of The Woods’: Song Review The mandolins and violins were left back in Nashville, and there might not be a single live drum on the album.
The guitars, when they’re there at all, deliver mostly texture an acoustic is audible on just one song. Sonically, 1989 is far more electronic than her previous work, driven by Martin’s trademark drum programming and synthesizers, pulsating bass and processed backing vocals. Taylor Swift to the Haters: ‘If You’re Upset That I’m Just Being Myself, I’m Going to Be Myself More’
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