Song of the Week: Taylor Swift Has Us Falling Into “This Love (Taylor’s Version)”
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The post Song of the Week: Taylor Swift Has Us Falling Into “This Love (Taylor’s Version)” appeared first on Consequence.
Song of the Week breaks down and talks about the song we just can’t get out of our head each week. Find these songs and more on our Spotify Top Songs playlist. For our favorite new songs from emerging artists, check out our Spotify New Sounds playlist. This week, Taylor Swift seems to be signaling that a return to the 1989 era is imminent with her re-release of “This Love.”
Sure, there’s no word yet on if we are officially re-entering the 1989 era — but in the meantime, Taylor Swift has shared the re-recorded version of one of the hidden treasures of her pop metamorphosis record.
“This Love (Taylor’s Version)” joins “Wildest Dreams (Taylor’s Version)” as the latest 1989 (Taylor’s Version) preview. Featured in the trailer for the upcoming Prime Video series The Summer I Turned Pretty, it’s a stunning reminder of just how authentically Swift has always been able to capture the magic, devastation, and fantasy of romance.
What’s more, perhaps the best thing about these re-recordings — which largely leave production and mixing choices untouched — is the fact that Swift’s vocal abilities have only grown over the past decade, just as her fan base has grown up alongside her. “This Love (Taylor’s Version)” spends most of its time in Swift’s lower register, where she tends to excel.
There’s always something sentimental about the release of Taylor’s Versions: Fearless, which featured especially nostalgic tracks like “Fifteen” and “Love Story,” might have been the height of emotion when it comes to revisiting her discography. (Yes, that even includes “All Too Well.“) It’s touching to hear an artist who has spent so long in the public eye and seems to be in a stage of her life yielding some of her best work to date re-inhabit spaces that were undoubtedly tumultuous and thrilling at the same time. It’s miserable and magical, right?
The particular magic of Taylor’s Versions is watching her slip into these eras like an old cardigan. To that end, 1989’s metaphorical attire would be sleek, and just a little sparkly; it probably features a pair of high-waisted shorts, a crop top, and sunglasses. Taylor Swift, like any of us, has grown and evolved — but it’s nice to see her back in that space anyway, as long as she chooses to inhabit it again.
— Mary Siroky
Contributing Editor
Honorable Mentions:
GREAT TIME – “I Could Be”
Philly-area trio GREAT TIME are hyper-modern, embodying the omnivorous listening habits popular in the age of music on demand. Rather than fusing their contrasting genre influences into a single, multi-faced monster à la hyperpop in the vein of 100 Gecs, however, GREAT TIME pick a specific sound for each song. Their output thus far has ranged from funk to ambient, hip-hop to folk, and everything in between. The practice has garnered them their critics, but there’s an undeniable sense of freedom and authenticity in GREAT TIME’s music.
Their latest single, “I Could Be,” sees the band taking a hard left turn once again, embracing punk aesthetics to release their hardest-hitting, most mosh-worthy song to date. The track’s video, directed by Mannequin Pussy’s Marisa Dabice, showcases GREAT TIME’s newfound rage as they ravage the set of a fictional late night talk show. Never have they been so angry and willing to show it, and seldom have they ever sounded this good. — Jonah Krueger
Maisie Peters – “Cates’ Brother”
Regardless of which side of the pond you grew up on — for Maisie Peters, it was the UK side — some experiences of coming of age are pretty universal. In “Cate’s Brother,” Maisie Peters details the rom-com/YA novel/Netflix original trope of falling for a best friend’s cool older brother. When it comes to narrative structure and youthful energy, it almost has a “Sk8r Boi” energy to it: vibrant, playful, and fun. If there was ever any doubt that Peters can oscillate between more delicate, introspective tracks over to crowd-ready bops like this, let “Cate’s Brother” be the end of the conversation. — M.S.
Camp Trash — “Let It Ride”
Camp Trash are purportedly a real band, but their new song undeniably rips. Are they an emo band? Or a power-pop band? Who cares. All that matters is that after releasing their superb debut EP Downtiming last year, the Florida four-piece will drop their debut LP, The Long Way, The Slow Way, in July, which should end up on all sorts of year-end best of lists based on the first two singles alone.
“Let It Ride” is pure, electric guitar riff-driven fun, an upbeat reminder to get out of your own damn head every once in a while. When Bryan Gorman sings, “I just wanna be a cog in a massive machine that breaks and makes the whole thing useless,” we dare you to not bang your head along in agreement. — Spencer Dukoff
Lydia Luce – “Vow”
Nashville singer-songwriter Lydia Luce has dropped one of the dreamiest songs of the spring. “Vow,” which features a visual of the artist in a blue and white seascape reminiscent of Lana Del Rey, is a lush and string-laden promise to the future. It’s hopeful and gentle, and by the time the cello arrives on the second verse, it’s impossible not to get lost in it. In cynical times such as these, this track offers a three-minute safe harbor. — M.S.
ELIO – “I LUV MY BRAIN!”
After the fierce and modern-leaning singles “Typecast” and “Vitamins,” ELIO is back with a purely nostalgic R&B cut, the wonderful “I LUV MY BRAIN!” When she introduced this song at her NYC show this week, the Canadian singer-songwriter mentioned that after a tough year in relationships, the track is meant to be a self-love anthem about owning your confidence and taking stride in your own ideas. Needless to say, it’s definitely working. ELIO is untouchably smooth on “I LUV MY BRAIN!,” and as she continues to release standout singles from her yet-to-be-announced debut album, we’re loving her brain, too. — Paolo Ragusa
JayWood – “Just Sayin”
Winnipeg musician and songwriter JayWood has just announced his new album, Slingshot, and along with it, the appropriately groovy “Just Sayin.” After the excellent Some Days EP saw the artist dig into more complex, guitar-based songwriting, “Just Sayin” is layered with synths, blasts of keyboards, and an unapologetically funky bassline. It’s got a bit of early ’80s post-disco R&B but is a glossy and refreshing turn from the multi-instrumentalist. If the rest of Slingshot takes after “Just Sayin,” then we’re in for a treat. — P.R.
WHY NOT – “You’re My Kind”
For their upcoming self-titled project, Minneapolis trio WHY NOT made it a point to find joy among the darkness of recent times. “You’re My Kind” is exactly the type of light-hearted song that captures the exuberance of finding that special someone you simply can’t live without. Full of hope with lyrics like, “It never hopes to try/ Or follow-up,” it’s the perfect soundtrack for the springtime flings that might blossom into something more. — Eddie Fu
Mykki Blanco feat. Diana Gordon and Sam Buck – “Your Love Was a Gift”
Simultaneously emotionally vulnerable and liberating, “Your Love Was a Gift” is a stunning sign of what’s to come from the multidisciplinary artist’s forthcoming album dropping this fall. Blanco’s distinctive vocals take the backseat here to features from Diana Gordon and Sam Buck, but that’s not to say that they don’t sweep in throughout the track’s glistening instrumental. “‘Your Love Was a Gift’ is for me if not the most honest, it’s the most beautiful song I’ve ever written,” Blanco says of the track. “The idea for the song comes from my own wins and losses in the game of love and it’s a story of coming of age.” — Rachael Crouch
Top Songs Playlist:
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Song of the Week: Taylor Swift Has Us Falling Into “This Love (Taylor’s Version)”
Mary Siroky and Consequence Staff
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