Following worldwide hits such as ‘We Are Never Ever Getting Back Together’ and ‘I Knew You Were Trouble’, Taylor Swift has slowly been moving in a more pop-oriented direction, headed mainly by Swedish producer Max Martin. 1989, however, is the first time Taylor has placed the whole genre under scrutiny, and arguably bettered some of the other pop efforts of the year.
The first indication of such a shift in both style and lyrical content is clear in first single, ‘Shake It Off’. With a chorus that sticks in your brain for months, talk-rap sections, and a message that haters just have to be brushed off, it is one of the best up-tempo pop songs of 2014, despite being a very polarizing song. ‘Out Of The Woods’, the second promotional single, is Taylor in a more alternative genre, yet accompanied by excellent echoing production and a repetition of the title that becomes almost spellbinding. It is one of the highlights of the album.
It is one of the best up-tempo pop songs of 2014.
Elsewhere, songs such as ‘Style’ seem almost effortless, produced impeccably and full of hooks and clever lyrical moments that stick in the memory. Taylor doesn’t sacrifice her own idiosyncrasies, seen in her earlier country-oriented albums, and remains relatable, especially to her target audience of teenage girls. The theme of independence and making it on your own is constantly referenced through the album, and it feels refreshing to have Taylor Swift songs not completely revolving about her love life. Clearly 1989 reflects a time of change in her outlook on life, most obviously seen in the electronic ‘Welcome To New York’, opening the album with a bang.
Although the middle half of the album represents more traditional Taylor songs, such as ‘All You Had To Do Was Stay’ and ‘How You Get The Girl’, they are given a commercial sheen, making them ideal for pop radio. The only time Taylor gets slightly juvenile is in the lyrics of the still impressively produced ‘Bad Blood’, rumoured to be about her feud with Katy Perry. Most interestingly, several of the songs of 1989 seem to ape the sounds of more alternative female singers, such as Lana Del Rey (‘Wildest Dreams’) and Lorde (‘Blank Space’). However, the latter song is full of memorable moments and is a wise choice for second single, whereas ‘Wildest Dreams’ does tend to struggle with Lana Del Rey’s breathy vocal style.
Most interestingly, several of the songs of 1989 seem to ape the sounds of more alternative female singers, such as Lana Del Rey (‘Wildest Dreams’) and Lorde (‘Blank Space’).
Ending on more pensive songs such as ‘This Love’ and the Imogen Heap co-write ‘Clean’, Taylor sets a bar in writing memorable lyrics reflected on both the dangers of romance and the joys of independence. The whole of 1989 is expertly produced, and meticulously crafted to be a hit record. Taylor appears, despite her country roots, to suit the pop transition well.
Laura Sumner
i really like our cd