Alright I’m too lazy to do an intro so let’s just get right into it.
Track 1 - ...Ready For It
It’s clear from the first few seconds this bitch is not playing. She has reinvented herself completely in 1989 and no doubt she is riding the wave on the back of the fifth album’s success right into Reputation as well. This track was the second single we've gotten before the album release and I take it as a prelude for what the other songs on the album are going to sound like. It is bold, with loud bass-heavy techno sounds and a catchy, addictive number.
It’s clear from the first few seconds this bitch is not playing. She has reinvented herself completely in 1989 and no doubt she is riding the wave on the back of the fifth album’s success right into Reputation as well. This track was the second single we've gotten before the album release and I take it as a prelude for what the other songs on the album are going to sound like. It is bold, with loud bass-heavy techno sounds and a catchy, addictive number.
Track 2 - Endgame
Ever since her short duet with T-Pain on her 2008 album Fearless, we've never really heard Ms Swift rap on a track again. Until Reputation. Ed Sheeran returns on this track along with Future. The threesome brings the rap-track together nicely though I would have personally preferred just Ed and Swift as the other guy seemed a bit unnecessary. The bold jeering sounds complement the breaks in between raps well and holds everything together nicely. And Ms Swift takes a jab at the media with 'the truth from my red lips' indicating that this time with this album, she intends to take back control of the narrative.
Ever since her short duet with T-Pain on her 2008 album Fearless, we've never really heard Ms Swift rap on a track again. Until Reputation. Ed Sheeran returns on this track along with Future. The threesome brings the rap-track together nicely though I would have personally preferred just Ed and Swift as the other guy seemed a bit unnecessary. The bold jeering sounds complement the breaks in between raps well and holds everything together nicely. And Ms Swift takes a jab at the media with 'the truth from my red lips' indicating that this time with this album, she intends to take back control of the narrative.
Track 3 - I Did Something Bad
With the word 'shit', this is officially the first song that Ms Swift cusses on. Production-wise, it implements simple recurring techno techniques and instrumentation. Lyrically I find it a close equivalent to 1989's Blank Space. Overall this is a decent track, not something I'd go crazy about. But there are certainly little effort put in to hide the shading and jab at a certain nemesis.
With the word 'shit', this is officially the first song that Ms Swift cusses on. Production-wise, it implements simple recurring techno techniques and instrumentation. Lyrically I find it a close equivalent to 1989's Blank Space. Overall this is a decent track, not something I'd go crazy about. But there are certainly little effort put in to hide the shading and jab at a certain nemesis.
Track 4 - Don't Blame Me
At first I thought I was listening to a Hozier song. I love how Swift's soothing vocals cut through so clearly in the opening lines. The tempo of the song unconsciously draws you in the more you listen and they keep your attention until the chorus where you are allowed a fleeting moment of release. Lyrically it gets dark and edgy. The bridge pays homage to traditional quality bridges that Ms Swift so often delivers.
At first I thought I was listening to a Hozier song. I love how Swift's soothing vocals cut through so clearly in the opening lines. The tempo of the song unconsciously draws you in the more you listen and they keep your attention until the chorus where you are allowed a fleeting moment of release. Lyrically it gets dark and edgy. The bridge pays homage to traditional quality bridges that Ms Swift so often delivers.
Track 5 - Delicate
The vocoder makes an apparent appearance in this track. Somewhere in this song, Wildest Dreams is hiding or rather, it now becomes the track from the previous album that was just the source code for something equally soothing and vividly imaginary yet unfamiliar. The song holds pertinent to its title. It is a delicate piece of work,dusted with digital synths and would make a nice end-credits song for one of the 50 Shades Trilogy movies.
The vocoder makes an apparent appearance in this track. Somewhere in this song, Wildest Dreams is hiding or rather, it now becomes the track from the previous album that was just the source code for something equally soothing and vividly imaginary yet unfamiliar. The song holds pertinent to its title. It is a delicate piece of work,dusted with digital synths and would make a nice end-credits song for one of the 50 Shades Trilogy movies.
Track 6 - Look What You Made Me Do
As the first ever single released to the world from this album, this is the heralding of a new era. Ms Swift has put her foot down and declared the old Taylor 'dead'. She does not make any concessions and this track is a jarring clap back to old rivals and clickbait-happy critics. Although this song does not have the strongest chorus, it somehow manages to be an earworm which one does not get rid of easily. Ms Swift is not here to play anymore. Sonically it plays well with what she was doing in 1989 which has proven to be a successful trial run.
As the first ever single released to the world from this album, this is the heralding of a new era. Ms Swift has put her foot down and declared the old Taylor 'dead'. She does not make any concessions and this track is a jarring clap back to old rivals and clickbait-happy critics. Although this song does not have the strongest chorus, it somehow manages to be an earworm which one does not get rid of easily. Ms Swift is not here to play anymore. Sonically it plays well with what she was doing in 1989 which has proven to be a successful trial run.
Track 7 - So It Goes...
This track does not do much for me. It is not outstanding but far from bad. I would perhaps say borderline average. Lyrically it manages to be a vivid storyteller with Swift's smooth vocals begging to be let out of the strong dominant instrumentation. This track marks the close of the first half of the album.
This track does not do much for me. It is not outstanding but far from bad. I would perhaps say borderline average. Lyrically it manages to be a vivid storyteller with Swift's smooth vocals begging to be let out of the strong dominant instrumentation. This track marks the close of the first half of the album.
Track 8 - Gorgeous
This track is riddled with infatuation and in true Taylor Swift tradition, is a song written about intense admiration and frustration towards a certain someone. Jack Antonoff's production watermark is evident with the rhythmic synths and snares without overdoing anything. It is certainly not the cream of the crop but good enough to be addictive. It is catchy, anyway.
This track is riddled with infatuation and in true Taylor Swift tradition, is a song written about intense admiration and frustration towards a certain someone. Jack Antonoff's production watermark is evident with the rhythmic synths and snares without overdoing anything. It is certainly not the cream of the crop but good enough to be addictive. It is catchy, anyway.
Track 9 - Getaway Car
This is quite unquestionably the best song off the record. It is a masterpiece of songwriting akin to 1989's Out Of The Woods. It is intense and raw, taking you on a steady car-chase of emotions which slowly intensifies towards the bridge before allowing you a much needed relief before taking off again. First time listeners might be fooled but this song masquerades a romantic tragedy behind all the brilliant production sounds. It paints a picture of betrayal, hesitation and running away, much like a Bonnie and Clyde production.
This is quite unquestionably the best song off the record. It is a masterpiece of songwriting akin to 1989's Out Of The Woods. It is intense and raw, taking you on a steady car-chase of emotions which slowly intensifies towards the bridge before allowing you a much needed relief before taking off again. First time listeners might be fooled but this song masquerades a romantic tragedy behind all the brilliant production sounds. It paints a picture of betrayal, hesitation and running away, much like a Bonnie and Clyde production.
Track 10 - King Of My Heart
Building up on the emotions that Getaway Car leaves you, it is hard to recover from such intense quality music. Therefore, this track has a lot of burden put on it, in which it falls short to deliver. The vocoder makes a return here. Lyrically it is a mildly sexy and suggestive love song. Sonically this is most certainly a dance song and the only memorable part was the chorus.
Building up on the emotions that Getaway Car leaves you, it is hard to recover from such intense quality music. Therefore, this track has a lot of burden put on it, in which it falls short to deliver. The vocoder makes a return here. Lyrically it is a mildly sexy and suggestive love song. Sonically this is most certainly a dance song and the only memorable part was the chorus.
Track 11 - Dancing With Our Hands Tied
If you're familiar with the idea and inspiration of 1989's I Know Places, then this might be the version of that song reincarnated. Again as with the majority of the album, this number takes its production cues from 1989 with vocally, some impressive solid high notes.
If you're familiar with the idea and inspiration of 1989's I Know Places, then this might be the version of that song reincarnated. Again as with the majority of the album, this number takes its production cues from 1989 with vocally, some impressive solid high notes.
Track 12 - Dress
Lyrically, this is perhaps the most intimate and rare look into Ms Swift's personal life behind closed doors. I feel like if I were to play this song for a stranger and tell them it's from the official soundtrack of 50 Shades, they would not hesitate to believe it. This might be Ms Swift's most adult song to date. Her vocals cut sharply through and is evident that sometimes the voice is all the instrumentation you need to channel your message.
Lyrically, this is perhaps the most intimate and rare look into Ms Swift's personal life behind closed doors. I feel like if I were to play this song for a stranger and tell them it's from the official soundtrack of 50 Shades, they would not hesitate to believe it. This might be Ms Swift's most adult song to date. Her vocals cut sharply through and is evident that sometimes the voice is all the instrumentation you need to channel your message.
Track 13 - This Is Why We Can't Have Nice Things
The whole song paints a picture of taking a toy away from a naughty child. It's fun, upbeat and probably a more mature version of Red's 22. It celebrates camaraderie and claps back hard at traitors and backstabbers in traditional Taylor Swift style. It takes a jab back to all the drama without stooping down to being a diss track. And I was not ready for that mid-song cackle dialogue!
The whole song paints a picture of taking a toy away from a naughty child. It's fun, upbeat and probably a more mature version of Red's 22. It celebrates camaraderie and claps back hard at traitors and backstabbers in traditional Taylor Swift style. It takes a jab back to all the drama without stooping down to being a diss track. And I was not ready for that mid-song cackle dialogue!
Track 14. - Call It What You Want
This is what a traditional Taylor Swift song sounds like. It is properly raw and happy. Lyrically you can really tell she is in a happy place in her life and she's not afraid to pen it out into a song. Instrumentation really complement this track well, mirroring the mood of the lyrics. Is it good enough to be a wedding song? Wait till you hear the next and last track. Even though this is a love song through and through, Ms Swift still manages to slip in some subtle jabs at critics, 'which is more than they can say.'
This is what a traditional Taylor Swift song sounds like. It is properly raw and happy. Lyrically you can really tell she is in a happy place in her life and she's not afraid to pen it out into a song. Instrumentation really complement this track well, mirroring the mood of the lyrics. Is it good enough to be a wedding song? Wait till you hear the next and last track. Even though this is a love song through and through, Ms Swift still manages to slip in some subtle jabs at critics, 'which is more than they can say.'
Track 15. New Year's Day
This is a very fitting album closer which blankets everything up nicely. This is probably the old Taylor Swift everyone's been begging for. It is simple and stripped down to the basics. It has minimal instruments with a slightly muted piano playing and the strings of an acoustic guitar in the background just subtle enough to indicate it's there. Lyrically, it takes on a realistic and practical approach to the traditional fantasies of love. After the roller coaster of heavy beats, bass and techno pop this song is just like that glass of wine you needed to unwind after a long day. I may call it the best love song that 1989 was lacking.
This is a very fitting album closer which blankets everything up nicely. This is probably the old Taylor Swift everyone's been begging for. It is simple and stripped down to the basics. It has minimal instruments with a slightly muted piano playing and the strings of an acoustic guitar in the background just subtle enough to indicate it's there. Lyrically, it takes on a realistic and practical approach to the traditional fantasies of love. After the roller coaster of heavy beats, bass and techno pop this song is just like that glass of wine you needed to unwind after a long day. I may call it the best love song that 1989 was lacking.
