voices || phantogram || 2014

It's a rare and beautiful thing to pull off a truly genre-bending album while retaining a core sound, and that is exactly what Phantogram has done here. I found this album in my inbox, sent by a friend whose recommendations I trust (as he has yet to mislead me; it was he who convinced me to give Daft Punk another chance when Random Access Memories was released last year). I was expecting synthpop based superficially on the band's name and the album cover, but the first track proved a pleasant surprise and the rest of the album went with the flow.

"Nothing But Trouble" is a straight-up trip hop song, the likes of which I've heard nothing similar to since '90s tracks by Sneaker Pimps, Portishead, and Tricky. All the grinding, industrial elements are over a crunchy drum track, which contrasts very nicely with Sarah Barthel's airy vocals.

It's at "Never Going Home" that the album takes its first surprising turn. Suddenly, the trip hop has become shoegaze-style noisy indie rock with Josh Carter singing and sounding very much like a modern Phil Collins. The lyrics are a beautiful desperate plea to a "dying" lover, though it's not explained if this impending death is literal, or merely the potential end of a relationship. It works either way, much like one of my favorite songs of all time: Shakespears Sister's "Stay." Definitely the high point of the album for me.

Barthel is back on vocals for "The Day You Died," another breakup tune but with more traditional pop sensibilities. The trip hop beat still looms in the background.

"Howl At The Moon" is a flawless trip hop track that stands above its peers thanks to its slightly higher-than-average BPM for that genre. Again, Barthel's vocals are flawless and contrast perfectly with the instruments.

Not sure what I was expecting from a song called "Bill Murray," but according to Carter: "We named it ’Bill Murray’ because we always pictured a sad Bill Murray for the visuals of that song. We want him to be in the music video." Hmm, okay, cool. Very pretty downtempo song; I'm sure Bill is honored.

There's something here for lovers of all kinds of alternative pop music. While not every single track has a memorable personality, there are some shining moments, and the overall listening experience is pleasant, almost soothing.

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bad blood || bastille || 2013

I had to wait for the right day to listen to this album, since I knew it would be a moody experience. Prior to my full listen, I'd only heard "Pompeii" and "Laura Palmer," so I was expecting brooding, full-wall-of-sound indie pop that really only works when it's grey outside, and by that benchmark, I'm a satisfied customer.

"Pompeii" is such an unlikely radio hit in 2013, but damn is it refreshing to finally see some new faces charting well on the Hot 100 instead of the career tributes we've been stuck with for the last 6 or 7 years. Every now and then a song like this pops up, something that's unique enough to briefly become a massive hit, but then we never hear from the artist again (see: Tinie Tempah, Taio Cruz, Far East Movement, etc.). I fear that's the path our dear Bastille is headed for, but I can still hope for the best. The song's true signature is the chanting riff that drives through most of it, which I haven't heard since the '90s.

Unfortunately, one of the pratfalls of creating a unique sound is that it's easy to create an album of 12 songs that run together and are indistinguishable. Lorde is an excellent example of someone who escaped this trap, but Bastille seems to fall right into it, at least for the first half of their album. "Things We Lost In The Fire" and "Bad Blood" are both mid-tempo and pretty forgettable. The production on "Overjoyed" ventures into Owl City territory.

My ears didn't particularly perk up again until "Oblivion," the first true ballad on the album. Vocalist Daniel Smith's performance isn't really different here than on the rest of the tracks, but it's a nice change of pace to hear him without loud instrumentation and backing vocals.

"Flaws" could become a college romance anthem if it reaches the appropriate audience. It's by far the most interesting lyrical content on the album, wherein the singer challenges his lover to drop all pretense and have a completely unguarded moment together.

My only complaint about "Laura Palmer" is that there isn't more direct allusion to the brilliant Twin Peaks. It's a pretty song though, and certainly follows the same sonic formula as "Pompeii." The music video is also worth a watch.

Bastille definitely creates a mood with this album and remains consistent through and through. It's worth a listen on a melancholy day.

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top 25 traxx of 2013

Honorable Mention:

"Love Is In Control (Finger On The Trigger) (Chromeo & Oliver Remix)" by Donna Summer

Certainly the song I danced most to in 2013, this Chromeo reworking of a 1982 Donna Summer single is pure genius. Great remixes expand upon what was great about what the original and use the new elements to accentuate what's already there; that is exactly what's been done here. Donna used a vocoder in the hook of the original, so Chromeo and their talkbox were a perfect fit. The brilliant original structure is now lain in the cradle of a 2013 dancefloor beat, and we may all happily shake our asses.

25. "We Can't Stop" by Miley Cyrus

Miley's album was a few decent-yet-half-assed pop songs peppered into some odd attempts at southern hip hop. This lead single, however, stood out this summer as a unique banger to hear out in bars or on the dancefloor. If I'm able to look past her obnoxious persona and enjoy the song, you can too.

24. "Everything Is Embarrassing" by Sky Ferreira

This was a great year for female vocalists and synthpop. Ferreira's album will please most fans of the genre. It features mellow, glowing synths over her appropriately matched voice, with the occasional 2013 oddity thrown in (like the baritone backing vocal in this track) to remind us what year it is. Listen carefully: There's an excellent bassline that develops in the final third of the song.

23. "Hey Porsche" by Nelly

This track would not be a musical stretch for most pop artists, but it is for Nelly. This deserved to be just as big a hit as 2010's "Just A Dream," but I didn't hear it get one single radio spin. I've been a fan since "Country Grammar" and I genuinely respect that, 13 years later, he's still putting out singles that I'm into.

22. "Wishes" by Beach House

Beach House are a duo from Baltimore who are keeping alive the "dream pop" sound popularized in the late '80s by acts like Cocteau Twins and Black Tape For A Blue Girl, and boy do they do it well. This track is as light as a feather, yet it manages to linger in the mind. A freaky video starring Leland Palmer helps.

21. "Dope" by Lady Gaga

This is Lady Gaga's first truly great ballad since "Brown Eyes," from her 2008 debut The Fame. She first performed it at the opening show of the iTunes Festival ("Swinefest" as her fans called it) back in September under its original title, "I Wanna Be With You." Fans instantly connected with the song, and upon its release as a promo single the following month, it sold so well that it debuted at #8 on the Billboard Hot 100. The very scant yet carefully placed synth bass added in the studio version gave the track a much-needed bottom end, making it feel like the full, looming, hefty presentation that it truly is.

20. "Hold On, We're Going Home" by Drake

Finally, I love a Drake song! This recalls smooth mid-'80s r&b and at times even Michael Jackson, but is very much a 2013 single in style and substance.

19. "Eden" by Sara Bareilles

Bareilles' album The Blessed Unrest doesn't branch out too much instrumentally, but this track is the exception. It takes her AC radio soft rock sound and gives it an almost new wave flair, and the result is a definite standout that deserves single status.

18. "I Could Be The One" by Avicii ft. Nicky Romero

A fun dance track, sure, but this was absolutely my favorite music video of the year. Avicii Is a masterful producer and he seems to be leading the next wave of great dance music creators. Guetta and Harris could learn a thing or two from his structuring and melodies.

17. "Latch" by Disclosure

Another track that just seems so '90s, and I say that positively. Disclosure is a progressive house duo from the UK who have had several hits back home, but this garage track was a hit in several countries. The abrupt beat change and octave increase at the chorus is just to die for.

16. "Bubble Butt" by Major Lazer

I don't even care that Bruno Mars (who I find immensely overrated) is involved; whenever I was on a dance floor this summer and this track spun, I went nuts. If there were any justice in the music industry, we'd hear this instead every time someone felt the need to turn on "Baby Got Back."

15. "Gentleman" by Psy

This track is so much cooler than his big hit last year, so it's kind of a shame that no one will remember it in five years. Psy is great at showing off the beauty of his hometown via shots of its commonplace activities in his music videos.

14. "What About Love" by Austin Mahone

I'd never have heard this track if it hadn't shown up on YouTube's homepage one day, so hooray Internet targeted marketing. I'm glad it was shoved in my face, though, as it's a well-produced delightful throwback to boy band pop of the late '90s. The very full bass and electronic drums are countered by a sawtooth synth sound that's so distorted it almost just sounds like a downed power line. Listen for one particular synth voice in the bridge that's exceptionally '90s - you'll know it when you hear it. Mahone isn't a particularly strong vocalist, but he sounds just fine here.

13. "Lightning Bolt" by Jake Bugg

The low-fi style of Jake Bugg's debut single (and album, really) seems very matched to his personality. He's not trying to change the world with his guitar; "I play music because I enjoy to play music. I'm not looking to be any savior," he said in one interview. He writes about what he likes to do and how the people who surround him and his little environment make him feel. You can't ask for simpler songwriting than that, and when it's paired with his high, powerful voice and quality, bouncing melodies, the result is pretty damn awesome.

12. "Same Love" by Macklemore & Ryan Lewis

Yeah, "Thrift Shop" has a better hook and was a much bigger chart success, but the historical importance of this track was unparalleled by any artist in 2013. The LGBT community thankfully has many, many straight allies, but it's very rare to see support from such a genuine, heartfelt place. "Born This Way" became an anthem two years ago for loving yourself and being uncompromising in who you are; this song has blazed further down the trail in a very direct demand for marriage equality. What can I say? I have a soft spot for songs of political import, and they're rare when a Democrat is in office.

11. "Like A Stranger" by Kitten

I don't know anything about Kitten vocalist Chloe Chaidez's childhood, but this outstanding EP would suggest that she grew up listening to Taylor Dayne, Cyndi Lauper, Depeche Mode, maybe even Stacey Q (I can dream), etc. as she has perfected the late-'80s pop sheen in both her production and her sultry vocals. This song is such a sexy, breathy come-on that I feel weird listening to it in public. My research indicates that the group is going through some lineup changes, so I hope it doesn't impede future excellence, but since Chaidez seems to be the band's core and remains its only consistent member, I am optimistic.

10. "Cups" by Anna Kendrick

I love every single thing about this song. I love that it was originally recorded in 1931 and that this version isn't that much different than the original. I love that it's barely two minutes long. I love that it's a very sweet sentiment wrapped in such snark that the compliment is almost lost. I love that it's sung by a woman who was already a respected actress and that this is her only offical single and that it wasn't milked into an album. I love how perfectly the video is cast, especially the oh-so-perfect group of three musical theater kids that show up at the 2:50 mark. Yeah, great tune.

9. "Acapella" by Karmin

Karmin has perfected the art of the song that is just annoying enough to be memorable, but not annoying enough to dislike. Sure, they may be the band that you dance like a doofus to around your apartment rather than throwing them on at a party (for fear of your friends telling you to have a seat), but doesn't that make them amazingly cool? This track will be on my party playlists for years to come, but I won't tell anyone that it's "that 'Brokenhearted' group" unless asked.

8. "Get Lucky" by Daft Punk

In my post reviewing this album, I referred to this track as a "modern classic," and I stand by that. While it's certainly an homage to disco, it stood out against its peers on the dancefloor this summer. It's rare to see a track this universally acclaimed and liked by folks of all walks, and in this case I must agree that it's justified. So glad these guys finally learned how to write songs!

7. "American Girl" by Bonnie McKee

Bonnie McKee has been hiding in the shadows of pop music for a few years, writing hits for Taio Cruz, Katy Perry, Ke$ha, and even Britney Spears, plus many more. This is her first solo single, and I don't think she could have picked a more perfect tune to keep for herself. It has a very modern sound and sticks to pop conventions, yet still retains uniqueness through a smartly-played keyboard riff (the third chord hits a half-beat after you think it's going to), some popcorn synth voices, and very well-written lyrics. I maintain that "I was raised by a television / Every day is a competition" is the most true-to-life lyric that millenials will hear in 2013's musical offerings.

6. "Play The Game Boy" by A*M*E

Get ready for some globetrotting: A*M*E is from Sierra Leone but now lives in Britain, and her music is inspired by Korean pop. The result is this incredible, synth-driven R&B electropop track that sticks in your head like peanut butter from the first listen. Once it's on your iPod, you'll have it on repeat for an entire day. This would be a HUGE hit in the US if she'd just release it over here already!

5. "Royals" by Lorde

A well-deserved hit, some music critics even credit Lorde with inventing a genre they're calling "chillwave." The track's snapping beat and minimalist structure create an undeniably unique sound, and Lorde's thick, sweet voice dribbles like honey right down over it. The idea of embracing your middle-class existence yet fantasizing about wealth has universal appeal. Lorde is a smart, smart girl and I look forward to her next move.

4. "High Society" by Betty Who

Until now, I hadn't heard a song that I'd describe as "sophisti-pop" since Swing Out Sister's 1989 hit "Breakout." These songs are characterized by flawless, shiny vocals, and an undulating synth-bass line under spry, warm keyboard chords. This is Betty Who's first EP, and while the other three tracks have a much more modern sound, I was immediately drawn into the uptempo brightness of this adorable track that playfully suggests the singer and her lover pretend to be much wealthier than they are.

3. "I Love It" by Icona Pop

This is a perfect pop song. Not even three minutes long, a chorus that's instantly repeatable, and accessible lyrics. Don't think for a minute that they're just pretty faces with decent-enough voices, either.

2. "Do What U Want (With My Body)" by Lady Gaga ft. R. Kelly

My favorite single she's released since 2010's "Alejandro," this song is Gaga's polite middle finger to an entertainment media that always seems to focus on the wrong things. With that idea in mind, it's easy to understand why she asked Kelly to guest on the track, but it feels a bit tongue-in-cheek, doesn't it? Gaga is surely in on the joke. It certainly doesn't detract from her point, though, and musically the song is flawless. By the end she's yelling like Pat Benatar, and you're feeling every bit of her frustration.

1. "The Mother We Share" by CHVRCHES

I think I knew when I heard this back in March that it would end up being my favorite track of the year. It would have been pretty impossible to top, as it has nearly element that I love: synthpop, flawless female vocals, danceable retro electronic drums, and ambiguous lyrics. I love that the band hasn't commented on the song's meaning, but I'm sticking with my interpretation: It's about loving our Mother Earth and how being good to it is being good to your fellow human. I'm such a bleeding heart, I know, but goddamn this song rules.

the heist || macklemore & ryan lews || 2013

Macklemore is in a very interesting position. He's been welcomed into the world of hip hop, but his white privilege allows him to take risks that other rappers can't and send his messages to places where they may not otherwise be received. He and Ryan Lewis have also achieved their success independent of a record label (only the second independent artists ever to have a Hot 100 #1; the first was Lisa Loeb in 1995), allowing them to retain creative control that most artists will never have. This resulting, very self-aware album takes advantage of both and doesn't hold back a bit.

"Ten Thousand Hours" falls a little bit short as an opening track, and I think it's the music to blame, not Macklemore's rapping or his lyrics. The melody is based on the oldest pop music chord progression in music history, and I found myself a little annoyed and exhausted with it.

I simply do not care for "Can't Hold Us." I find it droning and boring, and think Ray Dalton's vocals in the chorus sound listless.

"Thrift Shop" is really where the album picks up. It's simply a brilliant pop rap single that millenials will have no trouble whatsoever relating to. Self deprecation is always a surefire laugh, but this song amazingly manages to be self-deprecating AND aggrandizing all at once. It's truly a feat, and the beat is just delightful.

In a previous post, I used the term "modern classic" to refer to Daft Punk's "Get Lucky," and it feels right to use it in reference to "Same Love" as well. Macklemore goes beyond a superficial support of LGBT equality and humanizes the struggles that many more privileged individuals don't consider, even though they're a reality for many folks here and abroad. He also takes aim at the rampant homophobia in the hip hop community, but not in a way that shuns it -- it's a place he very much feels a part of and he wants to make it better.

Allen Stone's vocals are the best part of the otherwise unremarkable "Neon Cathedral," which is followed by the odd instrumental choice "BomBom." This is a bit of a mid-album slump.

The beat on "White Walls" is fantastic, and it meshes perfectly with Hollis' vocals in the hook. Is that an accordion I hear? Who the fuck cares? This track is awesome.

Macklemore shows off his rap chops on "Jimmy Iovine," which is quite un-obtusely about meeting with suits at the record label and his decision to remain independent. Serving to show off Macklemore's apparent fearlessness and "let the cards fall where they may" attitude, it's the closest to the mainstream gangsta rap sound that the album comes.

The heaviest material on the album is found in "A Wake." He starts by taking jabs at his fans, whom he refers to as "cynical hipsters with long hair and cocaine problems," and notes that "25-year-olds seem 10," a very honest critique of most millenials. He then rips into conservative soccer moms who laud him for being a clean rapper, accusing Americans of sanitizing the realities of the world. The song concludes with a very heartfelt and honest tackling of white privilege, noting that he didn't tweet about Trayvon Martin because he doesn't want to be "that white dude." He also notes the Internet's role in normalizing violent tragedies like Rodney King's beating, with literally thousands of similar videos available for viewing, wondering if this has halted progress. This is a perfectly delivered message and a great example of him using his aforementioned white privilege to send a message to an audience that other rappers aren't in a position to reach.

"Starting Over" deals with the struggle of addiction and sobriety, particularly how hard it is to stay sober without help. The twist of added pressure from being a celebrity who got sober temporarily and is now a public example of sobriety while not having actually dealt with the addiction is very interesting.

This a very impressive debut, and it's such an interesting listen because of Macklemore's unique position. I hope he chooses to remain independent so that his voice can remain as loud as is necessary, as he's in a position to use it to bring quite a bit of good into the world.

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the blessed unrest || sara bareilles || 2013

From pain often comes great art. I've never read anything about Sara Bareilles' personal life, but it certainly seems the songs on this album are a window into it. After all, you can't write genuine songs about heartbreak if you've never experienced it.

So many empowerment anthems are inwardly focused, and what makes "Brave" so interesting is that it's not. Bareilles focuses her encouragement to an unnamed stranger (or strangers) and challenges them to find their inner strength. This compassion seems like a fairly rare emotion, and it made me smile. Musically, it works because it doesn't stray too far from pop conventions, but undeniably has Bareilles' touch.

The theme of bravery continues into "Chasing The Sun," which is about the courage to move out of a town that you've gotten comfortable in and head toward new adventures. I love the metaphor of distant skyscrapers resembling tombstones.

"Manhattan" deals with the horrible post-breakup awkwardness of what to do about favorite places that were once shared. Bareilles backs down, singing "you can have Manhattan, cause I can't have you," offering a sense of relief to both the ex and herself. The acoustic instrumentation of just Bareilles' voice and the piano for the majority of the song was a great choice.

The instrumentation on "Little Black Dress" recalls early '60s Motown, e.g. Stevie Wonder and Marvin Gaye. The lyrics aren't too memorable, but it's a nice song about the self-confidence one can find simply by tossing on a nice outfit (especially post-breakup).

"Eden" begins with both an acoustic and synthesized drum track and a very cool chorusing effect that reminds me of Imogen Heap's "Hide And Seek." The electronics stick around, but so do the acoustic instruments with which Bareilles is most comfortable, and the result is the most interesting track on the album. Lyrically, it deals with the best way to cope with an irreversible life event - to admit that "life in Eden has changed," a very eloquent way of putting it. Bareilles challenges us to welcome the change head-on, instead of trying to revert.

This is a great collection of songs about inner strength and peace. Bareilles no doubt wrote them after a life-changing event (or two or three), but she maintains accessibility and compassion instead of diving into self-aggrandizing motivational pop. I can't think of a better gift to her listeners.

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good kid, m.a.a.d. city || kendrick lamar || 2013

It's difficult to make a deeply personal album without seeming narcissistic, but Kendrick Lamar nailed it. His second album begins when he's 17 and takes the listener through romantic, friendship, family, and personal struggles without making it seem like Lamar is elevating himself for having had these experiences. It's a straightforward, honest portrayal of how he became his adult self.

In "Sherane," Lamar tells us about a romantic tryst with a girl that he had as a junior in high school. This goes beyond a standard tale of puppy love, though. Lamar is candid with us about his typical 17-year-old urges but not in a way that is without romance; it's clear he genuinely liked this girl. "Who could imagine, maybe my actions would end up wifing her / Love or lust, regardless we'll fuck cause the trife in us" is such a brilliantly concise example of the confusing dichotomy one experiences while being in love at 17. The song ends ambiguously, and we're left with a sudden voicemail to transition to "Bitch Don't Kill My Vibe," but it's safe to assume that the girl's "family history of gang banging" caught up to her unexpectedly.

"Backseat Freestyle" is further exploration of the straight 17-year-old male mindset. You're obsessed with your penis and the world is yours for the taking. He even sports an Eminem-style growl at certain points.

I love the lyric "usually I'm drug free, but shit, I'm with the homies" in "The Art Of Peer Pressure." The title is blunt and and so is the content - here we hear tales of regrettably getting into trouble because friendship means more than individualism (or possibly worse). It's easy to make heat-of-the-moment poor decisions when everyone else around you is making them too.

"Poetic Justice" is understandably one of the album's most critically acclaimed songs. It's a tribute to the 1993 film of the same title and samples Janet Jackson's track "Any Time, Any Place" from its soundtrack. It's a delightful, relaxed groove.

We return to heavier subject matter on "Good Kid," a tale of frustration and imprisonment, both mental and physical. Lamar expresses vaguely his experiences being profiled and harassed by police officers, feeling helpless to overcome their preconceptions about him. The final verse is particularly interesting, referring to various drugs as "grown-up candy for pain" and alluding to a neverending cycle and the unavoidable outcome of addiction. The narrative continues right into "m.a.a.d. city," where Lamar's gang activity becomes more serious. A few tracks ago he was stealing video games from cars, but now he asks if we'd believe he's killed someone. He and his friends(?) now run the block.

"Swimming Pools (Drank)" and "Sing About Me, I'm Dying Of Thirst" mark a grand shift in tone. Lamar starts by reflecting on his grandfather's drinking, then acknowledges his own alcohol intake, and mentions Sherane for the first time in a few tracks. We hear from his conscience, whose words don't seem to have much effect at this point as Lamar resigns himself to drinking and seemingly rejoins his friends. It feels like he's alone again by the time the introspective "Sing About Me" begins, lamenting about his life in a low-income neighborhood, of friends and relatives sucked into lives of drug abuse and prostitution.

The last two tracks serve as the conclusion - sort of - to the tale. In "Real" we hear Lamar profess to be his own person, but acknowledge how hard it is to shake the baggage that comes from family and surroundings. The final track, "Compton," features Dr. Dre and seemingly re-glorifies the booze and gangbanging lifestyle that Lamar just rejected in the last few tracks. Maybe it's a tongue-in-cheek way of accusing gangster rap of perpetuating those things, or maybe it's just a "fuck it, this is who I am and I'm not changing" song, though both options seem equally confusing considering the album's deeply personal and introspective nature to this point.

Musically, the album is fantastic. There's an interesting tinge of jazz added to the already fairly soft hip-hop beats that give the album a very calming feel, which makes it stand out among the usually aggressive nature of other music dealing with this subject matter.

Aside from its abrupt and confusing conclusion, this is a well-produced, well-written, carefully planned album that serves its purpose of telling us about Lamar's formative years. His music clearly resonates with many, which I'd credit to his blunt yet not overly crass lyrics.

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red || taylor swift || 2013

Working in country radio from 2008 to 2010 versed me well in Taylor Swift's music. She rose to fame as an impressive young songwriter, penning honest songs that teenage girls could feel to their core, while their moms likely sat silently and empathized with Swift's emotions as well. Now on her fourth album and well into her 20s, it's pretty obvious that Swift was ready to shake that image and break some new ground.

She uses the title track to remind us that she knows her roots by slipping a banjo into the instrumentation a few times. It doesn't really sound out of place, but it did make me roll my eyes a bit because it seemed forced. It's almost like she felt like she had to stick a banjo into a song as a metaphorical foot to keep the door to the world of country from closing, but why? If you're exploring new genre territory, slam the door and walk all the way into the next room.

"I Knew You Were Trouble" would be a fine pop song if it weren't for two things. First, the chord progression is probably the most overused in pop music history. Secondly, her high "ooohhs" and the effected "TROUBLE, TROUBLE" in the chorus are stilted and the result is jarring. The concept is fine, but the execution just didn't cut it.

"22" is the first time we hear Swift at her best. Ridiculously simple, relatable, self-aware lyrics, a cutesy chorus, and a radio-friendly hook. The lyrics are certainly true to what a 22-year-old feels, though I'm not sure what it means to be "lonely in the best way." This is where the album finally charges all the way into the pop album that it's trying to be, and it's the first moment of it that I took her seriously.

"I Almost Do" is the first ballad on the album that doesn't feel like it's trying to double as both a pop and country song. It sticks to the classic pop ballad instrumentation of acoustic guitar and drums, with a little kiss of twinkly Spanish guitar in the bridge. The lyrics are on point in their depiction of post-breakup communication woes.

The same credit I gave to "22" has to also go to "We Are Never Ever Getting Back Together." It's pretty easy to write it off as a dreadfully annoying song (I could do without the "oooh, ooooOOOOOhhh oooh" crap), but you'd be remiss to say you didn't understand what she's talking about. Much like her previous hits, it's accessible and believable. I absolutely love the deadpan bridge.

"Stay Stay Stay" is a deliberate country crossover, but there is something very smart about it. The twang comes not from a banjo or a pedal steel guitar or any other traditionally "country" instrument, but a ukulele. The result sounds like every single song you've heard in a commercial in the last year.

I would enjoy "Sad Beautiful Tragic" a lot more if it were about a minute and a half shorter.

Neither of the two ballads is particularly memorable, though I did enjoy "Everything Has Changed" with Ed Sheeran a bit more than Gary Lightbody's. These were probably intended to show Swift's range, but it didn't quite connect. She certainly sounds more comfortable singing with Sheeran than Lightbody (who is 13 years her senior).

My favorite instrumentation on the album is in "Starlight." It's a period song that Swift says she wrote after seeing a photo of young RFK and Ethel Kennedy. Even though she's singing through someone else's eyes, it's a very genuine and cheerful song that remains consistent in both its narrative and style. I love the idea of imagining young lovers from the '40s having a night out to a tune that's reminiscent of late-'80s pop rock.

Swift's crossover into pop feels more like a cautious embarking than a full-blown foray. It's like she got invited by a friend to a party at a stranger's house, which she was promised would be super-duper awesome, but she knew she wouldn't know anyone there, and instead of walking up to strangers and introducing herself, she spends the first 30 minutes awkwardly walking around looking for her friend, who eventually finds her, puts her at ease and helps her make some new friends. Something like that.

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