#Taylor swift 1989 full album download download

Is she giving us enough of a connection to the teasingly confessional songwriter she was before? And if isolating herself from the pack is the album’s premise, how far can she maintain it? How’s that working out for her? Is she connecting with her new subjects and source materials? Does the naïve persona in “Welcome to New York,” her ode to her new adopted city, fit her correctly? Tracks like “Bad Blood,” with a big drumbeat evoking Billy Squier (or Clipse). Caramanica like “something from the original ‘Miami Vice’ soundtrack, all warm synths and damp vocals,” and production-heavy One of the record’s high points, which sounds to Mr. It’s the territory of the new song “Style,” Instead she’s going toward an imagined mid-to-late-’80s sound. But she hasn’t replaced it with hip-hop and R&B. With the help of songwriters and producers - including Max Martin, an old friend, and Jack Antonoff (of Fun and Bleachers), a new one - she’s now almost entirely “1989” is named for the year of her birth and, she has said, for the general date-range Popcast: The Weeknd, No Longer a Mysterious Internet PresenceĪs Jon Caramanica wrote in his review of the album, she’s worked to distance herself not onlyįrom country - as was the tenor of some of her previous work - but from a lot of current mainstream pop.Album DescriptionThe New York Times music critics talk each week about the latest pop music news. See More Your browser does not support the audio element. © Stephen Thomas Erlewine /TiVo More info Underneath the digital clatter lie some sturdy songs because, at her core, Swift is a canny songsmith, but 1989 isn't a record about songs, it's all about sonic style. 1989 emphasizes its reflective surfaces, the hyperactive rhythm tracks - dance by definition but rarely danceable in practice (the effervescent 'How You Get the Girl' is an exception) - functioning as an aural accent to the surging synthesizers and vocals. Considering that this album begins with the fanfare of 'Welcome to New York,' that progressive escalation in size is something to behold.

Swift tailored 1989 after Tedder's patterns, constructing nearly every one of the album's 13 tracks as an imposing skyscraper that deliberately casts its shadow upon on its predecessor. The heavy presence of Martin, who wound up producing all the vocals along with half the record, is something of a feint. Swift claims she patterned the album's sound after the MTV-ready sound of the year 1989, and while some cuts are conceivably anchored in the era of Debbie Gibson and George Michael - 'Shake It Off' is giddy on the momentum of its own pom-poms, the bonus track 'New Romantics' effectively conjures the ghost of 1983 new wave, 'Out of the Woods' veers into territory previously pioneered by one-video wonder T'Pau (their big hit 'Heart and Soul' arrived in 1987, two years before Taylor's year zero) - this is a modern album through and through. This busy kitchen is typical of modern pop albums, as is the incessant gleam of 1989's steely productions, every element of which blinds when caught in the sun. Taylor is rarely without co-writers here: only 'This Love' belongs to her alone, with the other major collaborators being OneRepublic's Ryan Tedder, fun.'s Jack Antonoff, and Imogen Heap.

Truth be told, Swift already made the leap from country to pop with 2012's Red, a nominally country LP distinguished by three songs co-written and produced by Max Martin and Shellback, a team that returns for twice that number on 1989 (Martin has one additional non-Shellback co-write with Swift). When she announced 1989 a few months prior to its October 2014 release, Taylor Swift called her sixth record her first 'documented, official' pop album, explicitly severing herself from her country roots.

#Taylor swift 1989 full album download download

Purchase and download this album in a wide variety of formats depending on your needs.