One of the most fascinating things about Taylor Swift is that she's always been herself, no matter what stylistic changes she goes through. Even though her well of influences has been a deep one, her distinct brand of personal storytelling and emotive vocal delivery have always set her apart from numerous country and pop contemporaries. And that's definitely a good set of qualities to have, seeing as she's been gradually inching her way into a more full-fledged pop sound -- both vocally and musically. Even though 2010's
Speak Now was already displaying Swift's more prominent forays into strictly pop music,
Red was the album that raised everyone's eyebrows. Much less country was integrated into the experience, and the whole thing felt like one big prefiguration for a new phase in Swift's career. So what does that mean for
1989? Well, the predictions were right... this certainly is a new chapter indeed.
It makes sense that
1989 would be the culmination of where Swift's past records were heading, but to abandon practically all of the country elements from past works is truly a ballsy move. Here, she only plays her guitar for a few songs (primarily "This Love" and "How You Get the Girl") and even then, those songs are still focused on the atmosphere and grand production that pervade the overall record. Without the soft country-influenced ballads as a factor anymore,
1989 displays Swift at her most confident as she exhibits incredibly powerful and soaring vocals over the majority of these tunes. The incredibly bombastic chorus of the opening number "Welcome to New York" is a clear indication that we are now listening to a diva instead of a country singer these days, and each song follows suit in this fashion. "Shake It Off," the huge lead single that started the hype (and criticism, for that matter), is probably the biggest departure from Taylor Swift's previous works as the song's punchy beat and oddly Kesha-esque rapping section in the bridge seem to betray all that she once went for stylistically. However, this all just assists in pointing out that she was perhaps tired of her old sound and wanted to try something new and different.
For the most part, this decision works in her favor. While the production is clean and crisp, it never feels too artificial or synthesized. To match Taylor Swift's songwriting and vision, it all works in each song's context. The more somber moments in songs like "Style" and "Wildest Dreams" are toned down to great effect so the buildups can have the best impact possible, while other songs maintain a high level of volume and brightness throughout. In the end, there's a good sense of variety and dynamics in the production, which suits the more experimental aspects of Swift's writing very tastefully. There's certainly some influence from other acts on this record as well, such as sharing some similar beats and vocal melodies with Lorde's
Pure Heroine record, or the Lana Del Rey-inspired arrangement of "Wildest Dreams." But nothing sounds forced or completely ripped off, particularly because Taylor Swift still injects her own musical personality into these songs to make them feel more like homages. And as for Imogen Heap's curious spot on this album... well, let's just say that "Clean" could very well be one of the best closers of this year. Her influence was a big one for Taylor as well, giving this final tune a beautifully ethereal tone while keeping a melancholic and reflective vibe all the same. It's a phenomenal ballad to end on.
But what's ultimately the most captivating thing about
1989 is its atmosphere. The album doesn't feel like an album, but rather an entire world of music; whatever song you pick, you could very well get lost in its own atmosphere. That's just the power of the album, it's an
experience. While previous Swift albums are usually strong on a track-by-track basis, this is the first album I've heard in which I absolutely recommend listening to it as a whole. For instance, the more subdued and melancholic aspects of album highlight "Style" are even more powerful when the song has just followed the bold one-two punch of "Welcome to New York" and "Blank Space." Or how "Shake it Off" is a great mid-album breath of fresh air that, well, shakes things up a bit. And that's the thing: each song works in the context of all the others, making
1989 feel a lot more complete and rewarding than the singer's previous records. Plus, you can still notice a lot of Swift's personality and history integrated into this album, right down to the fact that 1989 is actually the year she was born and the record is a tribute to the music of that time. In the end, it's the same ol' Taylor Swift in a new light.
Not only is
1989 a wonderful milestone in Taylor Swift's catalog, but also a fresh start. Reinvention is a risky gamble for any artist, especially one who's garnered so many fans in a specific genre. But if it means retaining freshness and creativity, so be it. Swift may still be Swift, but she's in an entirely different ballgame now musically... leaving the country behind and commanding her stadium-level crowds as a full-fledged diva. Supporting this is a wonderful record that seems to keep getting better and better with each passing listen, as well as just being an all-around modern pop masterpiece. Way to go, Taylor!
