#SOUNLOUD TAYLOR SWIFT 1989 FULL ALBUM HOW TO#
#SOUNLOUD TAYLOR SWIFT 1989 FULL ALBUM FREE#

(Seriously, вЂњShake It OffвЂќ is doing too much.) Heard in the context of the album, though, itвЂ™s her early attempt to act like the relationship never really mattered that much to her, before a sadder reality kicks in. First single вЂњ Shake It OffвЂќ (probably my least favorite Swift song ever, at least if weвЂ™re not including the вЂњSanta BabyвЂќ cover from the Target-exclusive Christmas EP she released a few years ago) is SwiftвЂ™s stab at вЂњMickeyвЂќ or вЂњHollaback GirlвЂќ or вЂњLondon BridgeвЂќ or Avril LavigneвЂ™s вЂњGirlfriendвЂќ - the chanty brat-out that recasts Swift as a mall-pop auteur while at the same time cheerily snarling at haters and making self-deprecating jokes about SwiftвЂ™s own dancing ability. The trick with this whole concept-album thing is that all the songs stand on their own they donвЂ™t depend on the albumвЂ™s narrative (which, to be honest, I could just be making up anyway).

#SOUNLOUD TAYLOR SWIFT 1989 FULL ALBUM HOW TO#

She gets fire-eyed pissed on вЂњBad Blood,вЂќ cajoles on вЂњI Wish You Would,вЂќ provides an exact roadmap for how to rekindle things on вЂњHow You Get The Girl.вЂќ By the time closing track вЂњCleanвЂќ kicks in, sheвЂ™s convinced herself that sheвЂ™s OK with the whole thing, that sheвЂ™s ready to move on. But things turn bad quickly, and most of the album is Swift dealing with a breakup. It starts with excitement and play and intrigue, and it blossoms into something deeper around the time вЂњ Out Of The WoodsвЂќ kicks in. (She makes constant reference to a car crash sheвЂ™s probably really alluding to a serious snowmobile crash that she and Styles apparently once got into.) But the specifics donвЂ™t matter as much as the subtle but genuine arc that the LP traces. She never names him, or even alludes to his name, though clues are there if you want to mine for them. Most of the songs on 1989 seem to concern Harry Styles, the most visible member of One Direction, who Swift dated a while back. This time around, sheвЂ™s not showing those records off, lyrically or musically, but sheвЂ™s quietly emulating them. On her last album, Swift was lyrically bragging about how many James Taylor albums she owned. But itвЂ™s also a concept album, a вЂ™70s singer-songwriter-style song cycle about the beginning and end of a relationship. On first listen, 1989 sounds like the resistance-is-futile robo-pop hydrogen bomb that Katy PerryвЂ™s Prism tried and failed to be. But sheвЂ™s using those toys to deceptive ends. 1989 gleams and shimmers the way all her past albums have gleamed and shimmered theyвЂ™re just playing around with a new set of stylistic toys. SwiftвЂ™s voice is an instrument capable of both colossal uplift and soft empathy sheвЂ™s kept the lost-little-kid openness that made her so appealing in the first place. SwiftвЂ™s albums arenвЂ™t singles-plus-filler theyвЂ™re singles-plus-potential-singles, and the songs that never dominated the radio are just the ones she never got around to releasing as singles. Every one of her albums sounds like a lesser artistвЂ™s greatest-hits album 1989 makes her five for five. ItвЂ™s not easy to put together a resonant, sweeping, universe-conquering pop song, but Swift makes it look easy.

#SOUNLOUD TAYLOR SWIFT 1989 FULL ALBUM FREE#

SheвЂ™s free to openly be what sheвЂ™s always secretly been.Д«ut the level of craft is still the main thing. This time around, she doesnвЂ™t need banjos to do the things that synths should be doing she just has the synths do those things. In a way, then, 1989, which Swift has loudly announced as her first straight-up pop album, is her most genuine, least manufactured album. Everything else was pure subterfuge, and her banjos and pedal steels did the same sharp, glinting melodic work that synth beeps and smears wouldвЂ™ve done on a straight-up pop record. She took from mainstream country music the things that worked for her (the clean lines, the mathematically precise structures, the warmly personal and specific storytelling) and jettisoning the stuff that didnвЂ™t (the oppositional culture-wars mentality, the truck fetishism, the reverence to past giants).

(The review isnвЂ™t online anymore, but the Village Voice was nice enough to reprint some highlights.) Back when I wrote that, Swift was ostensibly making country music, but her songs were already masterfully assembled big-pop mechanisms. вЂњRespect motherfucking craft when you hear it.вЂќ Writing for BrooklynвЂ™s L Magazine six years ago, that was how I ended my review of Taylor SwiftвЂ™s triumphant sophomore album Fearless.

Sounloud taylor swift 1989 full album