With the release of Red on October 22, 2012, many of Taylor Swift’s more traditional fans blew up over her experimentation with pop elements in the songs  “I Knew You Were Trouble,” which featured dubstep-like aspects in the chorus, and “We Are Never Ever Getting Back Together.” However, their worries were put to rest by an album that included mostly the country/soft rock/contemporary hybrid that we’re all used to.

These same fans were in for quite the unpleasant surprise with the release of Swift’s latest album 1989 on October 21, which represents a complete transition into the pop genre.

Swift boasts an entirely revamped style, including synthesizers, electronic sounds and boosted bass. At times, the artist from Taylor Swift (2006) and Fearless (2008) is almost unrecognizable. I was half-expecting to see a track titled “Teardrops On My Drum Machine.”

Many of the new pop jams signify a rough transition to a new genre for Swift, who with every new album has seemingly drifted from the country scene that so gratefully embraced her and made her famous over ten years ago. Some songs such as “Out Of The Woods” and “Welcome To New York” are extremely repetitive and, well, just plain annoying.

For instance, after hearing “Welcome to New York, welcome to New York, it’s been waiting for you” over and over and over, my head was ready to explode. And Taylor, do you really need to ask if you’re out of the woods 38 times? (yes, I counted)

Also, Swift struggles to put an entire song together throughout 1989. “I Wish You Would” tells an emotional story of regret over an incredibly powerful hook. When the music fades and Swift sings the chorus for the third time, her vocal excellence stands alone and reminds us all of her immense talents. However, the awkward, uninspired verses came up short – literally – allowing for excessive repetition of an otherwise top-notch refrain.

“I Know Places” fails in a similar fashion. Swift pulls off her best hook of the entire album singing “Baby, I know places we won’t be found, and they’ll be chasing our trace tryin’ to track us down.” But still, the choppy verses contain questionable background music and weird vocal alterations at the end of each line that just don’t fit with the rest of the song.

That said, Swift does find a suitable balance at times. Fan favorites like “All You Had To Do Was Stay” and “How You Get the Girl” successfully integrate pop elements while keeping that classic Swift sound. She even channels her inner Lana Del Rey in “Wildest Dreams” with her dazing, mystical tone and music that feels cinematic.

Also, “Blank Space” simply sounds good, tells a compelling story (especially after viewing the music video) and has the potential to go down as one of her classics. She claims “I can make the bad guys good for a weekend” in typical Taylor fashion.

Overall, the key for her is to not allow pop influences to overpower her “Style” – no pun intended. Songs like “Shake It Off” prove that she can venture to new types of music and revamp her sound while staying in character and doing the things that have made so many people fall in love with her – creating good music and having fun in the process.