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17-Aug-2017 03:46

opens with its worst track and ends with one of the best. It's curious that the track's opening seconds clearly resemble Kanye West's "I'm In It," given Swift's renewed antipathy for the rapper.But Swift never summons the swagger to justify those harsh sandpaper synths—she just sounds like she's drowning.2.On August 18, 2014, Swift premiered "Shake It Off," the indelible, hater-taunting smash hit that would launch her album and sweep aside the acoustic guitars and pop-country ballads that had made her millions.There was a flashy music video, too, in which Swift shifts effortlessly between groups of hip-hop, jazz, ballet and cheerleader-style dancers.Lyrically, Swift is embracing the villainous persona she tried on for size on "Blank Space"—she didn't just do something bad but wants you to know she'd "do it over and over and over again if I could." (Speaking of villains, the witch hunt imagery in the bridge is remarkably ill-timed.)4."Don't Blame Me"A thick gospel vibe and big, soaring hook make "Don't Blame Me" an immediate highlight from .Keep up with this story and more is a dark, dizzying monument to the madness of modern celebrity—and an unabashed kiss-off to Swift's various enemies and feuds (particularly Kanye West).

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The production and melodic phrasings are darker than is customary for the singer, and the lyrics return again to Swift's newfound predilection for villainy: "You know I'm not a bad girl / But I do bad things with you."8."End Game"This track will be huge because it is too goddamn big to fail.It has the formidable ingredients: a club-ready refrain ("Big reputation, big reputation / Ooh, you and me, we got : celebrity, drama, celebrity drama and the volatile nature of one's own media image."I Did Something Bad""I wrote this song on piano," Swift says.

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"It’s not gonna sound like it, though." She is correct: The song's apparent trap influences (rubbery synth tones, that frighteningly irresistible "Da-da-da-da" vocal loop) seem eons removed from her country-pop roots, and the mild profanity in the lyrics has occasioned some mild shock of its own (come on).The shimmering synth-pop pastiche lands in the same neighborhood as Carly Rae Jepsen's recent gem "Cut to the Feeling," and the hook is , in both catchiness and energy.10.