In a schadenfreude kind of way, I like that “1989” represents Taylor Swift’s further descent from hopeless romantic toward bitter cynicism. Thanks for joining us, Taylor.
She’s always been great at capturing a uniquely Millennial kind of loneliness characterized by a desperation for love but an inability to figure out how to really connect with anyone. This is especially evident in “Out of the Woods,” a haunting song about struggling to hold onto a new relationship with the chorus repeatedly chanting, “Are we out of the woods yet? Are we in the clear yet?”
Another excellent melancholy song about ill-fated love is “I Know Places.” Again, Taylor depicts clinging to a doomed relationship, singing, “See the vultures circling, dark clouds. / Love’s a fragile little thing, it could burn out. / It could burn out. / ‘Cause they got the cages, they got the boxes, / And guns. / They are the hunters, we are the foxes, / And we run.” The dark tone of the song is enhanced with a few edgier vocal embellishments and an overall lower, more somber pitch to the music.
Probably the best straightforward pop song on the album is “All You Had to Do Was Stay.” It features a strong chorus and deals with an all-too-relatable subject matter, which is Taylor’s specialty. The ultra high-pitched punctuation of “stay” throughout the song is an amazing touch.
I do wish that we, as a society, knew less gossip about Taylor’s personal life, because I found it essentially impossible to separate what I “know” about her from the music itself. Maybe I would have liked “Bad Blood” more if I could have heard it as a song about being betrayed by a friend rather than a song about that time Katy Perry snatched all of the dancers from Taylor’s tour to use for her own, but we’ll never know because Taylor’s music can’t really stand on its own anymore. (Although I would venture a guess that the song would still suck either way.)
In addition to “Bad Blood,” there are some real weak points on the album.
The first single, “Shake It Off,” is quite bad, but it still gets stuck in my head all the time. It’s an obnoxiously catchy pop song that sounds like Avril Lavigne circa 2007, which is also coincidentally the last time it was clever to use the phrase “Haters gonna hate.” The worst part is the horrifyingly embarrassing spoken word bit in the middle: “Hey, hey, hey! Just think: while you’ve been getting down and out about the liars and the dirty, dirty cheats of the world, you could’ve been getting down to this sick beat.” Let’s not and say we did.
“Wildest Dreams” is such an overtly obvious attempt at a Lana Del Rey track it’s a little painful. It’s not a bad melody, though. I also enjoyed it when it was “Without You” on Lana’s 2012 album, “Born to Die.”
Overall, I think Taylor is a good storyteller, a strong songwriter and a great businesswoman. She’s phenomenal at marketing herself and interacting with her fans. The deluxe edition of the album includes three “voice memos” that detail Taylor’s writing process for a few choice songs, which is a cool insight and makes me kind of want to hang out and write music with her.
However, I don’t think she has a commanding presence or any star power, which is weird because she’s become a huge star. She doesn’t have much vocal range, and she was wildly disappointing when I saw her perform live a couple of weeks ago on Hollywood Boulevard.
Altogether, I can’t really say that “1989” is any better or worse than any of Taylor Swift’s previous albums. It has about the exact same handful of good songs as ever, alongside the same number of boring ballads and boring dance-pop tracks. The tl;dr of it is that she attempted to go in a different direction but achieved basically the same result.
Release Date: Oct. 27