As a single man, few things get me excited for pos­sible exis­tential heart­break. But one of those things is Taylor Swift’s new album “Red (Taylor’s Version).”

I am a com­plete sucker for 2010s pop: Taylor Swift, Adele, and Katy Perry. You name it, I lis­tened to it. For this reason, I keep my pop mix tape under lock and key.

Swift recap­tures the magic of her 2012 mas­ter­piece in “Red (Taylor’s Version,)” her second remas­tered work, which mixes country, pop, rock, and raw emotion into an expansive 30-track album. 

Swift enhanced the album with new instru­men­tation and eight new tracks labeled as “From the Vault:” songs that she wrote in 2012, but never released with the final cut. These new songs demon­strate Swift’s broad mastery of dif­ferent genres and her wide-ranging vocals. From country-pop to elec­tronic dance, Swift pushes the boundary of her musical prowess.

Swift’s 10-minute version of “All Too Well” brings the heart-wrenching frus­tration during a breakup to the fore­front in a slight against her ex-boyfriend. Swift cap­tures feelings of rage and melan­choly, com­bining them with a resolve to leave a toxic rela­tionship behind, tying the solemn ballad together. The thudding bass pushes the song to its dra­matic climax as Swift reflects on a broken relationship’s good and bad memories. 

Last Friday, on the day of the album release, Swift also released a 10-minute short film that she directed. The video received 30 million views on YouTube.

Like many people critical of Swift, I expected Swift’s new album to be a cash grab after the drama sur­rounding her battle for the original rights of “Red” prompted the album’s recre­ation. However, Swift brings candid trans­parency to her music by singing on the dif­fi­culties in rela­tion­ships and emo­tions that come with them. 

Even her re-releases of the classic tracks “Red,” “I Knew You Were Trouble,” and “22” include new instru­men­tation and a level of care for her music that goes above and beyond. These tracks rever­berated with nos­talgic har­monies, yet the slight dif­fer­ences added to the overall enjoyment of these tracks. 

Swift’s per­for­mance is trans­for­mative throughout the album, illus­trating her change from young adulthood into mature adulthood with her improved vocal range. Her new song called “Nothing New” exem­plifies this trans­for­mation. In a duet with Phoebe Bridgers, Swift sings about her inse­cu­rities around aging and growing old demon­strated by the song’s Lo-Fi dis­tor­tions, which are audible imper­fec­tions in the song’s production.

Swift shows growth as a musician, building on her foun­dation with an appre­ci­ation of her country roots. The original release of “Red” is Swift’s entrance into pop. She builds on her country foun­dation by incor­po­rating banjo and har­monica in “I Bet You Think About Me,” where Swift con­trasts her country back­ground to her ex-lover’s “high-end” lifestyle. 

Swift’s new album is a trans­for­mative expe­rience that does justice to her classic pieces in their remas­tered format and shows a level of per­sonal growth in her eight new expansive “From the Vault” tracks. The new album is a rewarding listen which delivers on style, instru­mentals, and vocals. Now that I’ve learned every way to break a girl’s heart, I guess I’m back to trying to find a date.