The new Taylor Swift era has arrived, and its already got the world SHOOKED.
After teasing fans with cryptic snake videos all week long, Taylor finally broke her silence and announced that her upcoming sixth studio album is called Reputation and that it’s due out on November 10th.
The announcement also came with the unveiling of the official black-and-white artwork for Reputation, which depicts her face superimposed over an array of newspaper headlines – leading everyone to assume she will be addressing the consistent string of bad press she has received over the last couple of years after allegedly being exposed as a liar and a snake by Kim Kardashian and Kanye West. To put it in her words, Taylor would “very much like to be excluded from this narrative.”
Today (August 25), America’s Sweethart delivers on her promise with the fittingly titled “Look What You Made Me Do,” the unexpected and intriguing first taste off of her forthcoming LP.
Taylor‘s gone weirder, wilder, and more aggressive on this go-around — and even more “like, so, whatever!,” it seems. “I don’t trust nobody and nobody trusts me/ I’ll be the actress starring in your bad dreams,” she warns. From the jump it sounds like nothing you’ve ever heard from Taylor, she’s armed herself with an added layer of self-confidence and some new sounds. “Ooh, look what you made me do/ Look what you made me do/ Look what you just made me do,” she sarcastically declares on the shape-shifting track, which recalls the experimental beats and spirited vocal gymnastics of Robyn, Charli XCX and Marina & The Diamonds, with an obvious touch of the grungy production by Peaches (see “Fuck the Pain Away” and “Operate“).
It’s confusing and arousing all at once. The cheerleader-like, unbelievably super-chanty chorus, the sonically brave production and that spoken word bridge: “I’m sorry, the old Taylor can’t come to the phone right now/ Why?/ Oh, because she’s dead!,” which is either the worst or best thing I’ve ever heard come from a Taylor Swift song.
Whether it’s because this is the last thing I was expecting from Taylor Swift, or because it’s a Jack Antonoff production, or perhaps even because I’ve been desperately wanting something game-changing from a high-profile pop star this year: I’m on board, Tay Tay. You can stay…