1989

Let me start by stating that I am not a big Taylor Swift fan. In fact, I didn't really listen that much to her material until her phenomenal album Red, and even after spinning that album a good amount, there were only a few cuts that I really got into. Aside from its two well-known singles, I can honestly say that tracks such as All Too Well, I Almost Do (this one I discovered from a random tweet), The Last Time, and Everything Has Changed (Ed Sheeran FTW) got stuck in my head for quite some time. While I wouldn't consider Red as an "it-blew-me-away" kind of record, I found it enjoyable enough to put Swift's future albums on my watchlist.

That is why when I heard that her fifth studio album 1989 (an obvious reference to her year of birth) was already out, I knew right away I had to "procure" a copy from my reliable sources and start digging into her new tunes.

I am only three years older than T.S. Thought it'd be higher.

While Swift's widely known for her country roots and influences, 1989 dives into a completely new territory. Opener Welcome To New York introduces listeners to a more pop-infused sound with its upbeat vibe, which literally screams party scene music, not the typical area you'd hear a Taylor Swift song (unless of course you've heard the dance remixes for You Belong With Me, ugh). Even the lyrics confirm the shift, -- "It's a new soundtrack I could dance to this beeeeat" -- words that sound as if she's trying to convince us that her new sound is worth dancing/listening to.

And you know what? She did convince me. Despite the subpar opening, T-Swizzle turns it up immediately on the next track, Blank Space, a huge song filled with infectious melodies, exceptional vocals (as always) and those familiar Taylor Swift lines. Watch out for those "Cause darling, I'm a nightmare dressed like a daydream" status updates soon. Lead single Shake It Off is insanely catchy (I could do without the cheering part though) and proves furthermore that Swift has a firm grasp on what works as a good pop song. Good luck getting tracks like How You Get The Girl, Style, and I Wish You Would out of your head.

One song in particular that stands out for me is Out Of The Woods, a track that showcases Swift's venture into indie pop territories. I think it's what a tribal love song would sound like when structured in a modern setting. Having Jack Antonoff's marks on this song (I'm pretty sure he's the brains behind those ooooh's in the chorus) and lines like "The rest of the world was black and white but we were screaming in color" only makes me like it more.

The album's lone ballad, This Love, also deserves a mention. Swift's swooning voice works wonders with the somber mood of the song. When Taylor belts out lines like "Tossing, turning, struggled through the night with someone new", you can really feel the unbridled emotion in her delivery, making the song more powerful and genuine.

1989 still has its low points though. The two-song stretch of Bad Blood and Wildest Dreams is a wreck. The former is an anemic excuse for a song while the latter has that cringe-worthy part where Swift goes i-i-is. The lyrics are weak and Swift's vocal performance for both are terrible. She sounds like she's trying too hard to sound different or emulate another performer. *coughLanaDelReycough*

Ironically though You Are In Love, which is exponentially grander than the aforementioned duo was only included in the deluxe version of the record. A cheesy, romantic, mid-tempo Taylor Swift song? Sign me up for that every single damn time.

1989 (at least the "regular" variant) closes with the Imogen Heap-aided Clean. I'm a sucker for good lyrics and Clean delivers the strongest set yet: 

"You're still all over me like a wine-stained dress I can't wear anymore."

"The drought was the very worst when the flowers that we'd grown together died of thirst."

Also, the instrumentation while Swift croons "Rain came pouring down when I was drowning that's when I could finally breathe" evoked feelings of being under a rainshower. It's always a surreal moment whenever a song can connect two senses together and Clean nailed that successfully, giving a fitting ending to yet another solid Taylor Swift record..