Taylor Swift’s ‘1989’ drops today, and I just bought it for my daughter as her reward for getting an HPV vaccine (which turns out to hurt pretty bad.)
Told she looks just like T.S. practically since she began walking, my music loving, constantly singing daughter dressed as her idol for Halloween back in 2012.
Back then, I was psyched she chose not to be a princess and since, I’ve only come to admire Taylor more. We’re listening to the CD right now, so I can’t review it yet but Time’s post is excerpted below along with links to previous Reel Girl blogs on TS.
But Swift has gambled before and won. After writing every song solo on her blockbuster 2010 country-crossover album, Speak Now, she teamed up with a varied roster of top-shelf tunesmiths for 2012’s sprawling, genre-spanning opus, Red. That album went quadruple platinum, earned rapt critical acclaim and four Grammy nods and made her an icon.
On 1989, out Oct. 27, she sounds like one. Leaner and keener than those on Red, her new songs fizz and crackle with electricity and self-aware wit. Driven by synths and drums in lieu of guitars, all trace of country abandoned, 1989 holds together sonically as a tribute to the electro-pop that dominated radio 25 years ago. Swift executive-produced the album alongside Swedish hit machine Max Martin, who lends pop shellack to her nimble lyrics. Winding choruses have been whittled down to their stickiest essence.
Thematically, too, Swift breaks with the past, skirting victimhood and takedowns of maddening exes, critics and romantic competitors. Instead, there’s a newfound levity. Not only is Swift in on the joke; she also relishes it. The bouncy “Blank Space” hyperbolizes her portrayal in the media as an overly attached man-eater who dates for songwriting material: “Got a long list of ex-lovers, they’ll tell you I’m insane/ But I’ve got a blank space,” she coos before, incredibly, a clicking sound like that of a pen, “and I’ll write your name.” The skronky, horn-driven lead single “Shake It Off” communicates a cheerful disinterest in being critiqued, and a panicked, operatic vocal sample of Swift singing the word “Stay!” gives the swerving “All You Had to Do Was Stay” an oddball kick. The angriest song here is “Bad Blood,” a chanting call to arms over a dispute with a frenemy, and even it feels tongue-in-cheek.