By: Scott Harvey, Columnist

By the time you read this review, Taylor Swift will be several million dollars richer than she was this time last week. This is because her fifth album, “1989,” is likely going to be the best-selling album of the year. In fact, “1989” may very well outsell the year’s best selling album to this point, Coldplay’s “Ghost Stories,” in its opening week, a dazzling feat in this era of rampant music piracy.

The millions that will buy “1989,” however, should be well aware of what they’re getting into when they do so. This is not the Taylor Swift of old. Swift herself said prior to the album’s release that this would be her first “pop” album. This declaration prompted plenty of outrage, but it was an inevitable decision. Previous album “Red” could have been considered a “pop” album also, with tracks like the electro-pop hit “I Knew You Were Trouble” marking the transition.

But even the brand of pop presented on “Red” is far different from that of “1989.” The album’s title does not only reflect the year of Swift’s birth; it also indicates the year from which she seems to be borrowing stylistically. Gone are the gentle guitars of “Flawless,” replaced by the huge synths and over- the-top drum fills that are characteristic of 80s music. The opener, “Welcome to New York,” is a perfect example. Produced by Ryan Tedder of OneRepublic, the song feels almost as flavorless as some of that group’s hits, not to mention that Swift is about as literate on the subject of New York as Catey Shaw is on “Brooklyn Girls.” But “Welcome to New York’s” dim lyrics are a rarity on “1989.”

Indeed, from a lyrical standpoint, Swift is far less boy-crazy on this album than she is on any of her others, instead addressing another subject she seems well versed in: herself. There is a satirical, even self-deprecating, tone to some of the album’s best moments, like the bonafide hit- in-the-making “Blank Space,” on which Swift exclaims, “I’m a nightmare dressed like a daydream,” and, “Got a long list of ex-lovers/they’ll tell you I’m insane.” The buoyant “Shake It Off” takes on Swift’s haters (are there really that many of them?). Though Swift is probably far less oppressed than she makes it sound, “Shake It Off” is a downright flawless pop song, complete with jazzy horns and a rare example of a successful rap bridge.

“Shake It Off” may be the most upbeat song on “1989,” but it is not the only one. “This Love” is the only true ballad on the album. Though it is nowhere near as ambitious as some of Swift’s best songs, like “All Too Well” or “Enchanted,” Swift also tackles several mid- tempo tracks to terrific effect. “I Know Places” starts with a dark sound but then explodes into a soaring chorus that is one of the album’s major highlights. The moody “Clean” makes great use of atmospheric background vocals from Imogen Heap, the only guest vocalist to appear on the album. Best of all is the stunning “Wildest Dreams,” a vivid masterwork of a song that isthefinestshowcaseofSwift’s songwriting talents on “1989.” Other standouts include the winsome “How You Get the Girl,” which sounds like it was ripped straight out of a John Hughes movie, and the bouncy “Style,” another surefire hit. All of the three bonus tracks on the deluxe edition are solid additionstothealbum,though the dynamic “New Romance” is the clear standout.

More than any of Swift’s previous albums, “1989” has a chance to win the singer even more fans than she already has. It is one of the best albums of the year, but more than that, it shows that Swift has no desire to mirror the tastelessness of many of her equally successful contemporaries. Once again, Swift can rest easily, secure in the knowledge that there is no indie record cooler than hers.

Score: 9.3/10