A look at Taylor Swift’s “State of Grace” In its recent study on the evolution of popular songs over the last 50 years, research publication Scientific Reports noted an overall decline in sound color, texture, and tone quality—which, according to the study, points to “a growing homogenization” of instrument usage and recording techniques, particularly over the last few decades. Not that there’s necessarily anything wrong with a little simplicity now and then (which, of course, is the essence of many great pop singles); however, there’s no arguing that the sharp dynamic contrasts that were once commonplace on pop radio have been in short supply for quite some time.
By Dave Simons
Which might help explain why listeners tend to respond favorably to music that offers a bit more in the way of tonal variety. This presents songwriters and sound sculptors with a dual challenge: to not only craft excellent music, but to record it in a way that is every bit as creative as the writing process itself. While traditionalists may argue that a great song is a great song no matter how it’s cut, there are many instances in which a great song has been rendered even more compelling as a result of a little mixing savvy.
One of the more recent examples of this phenomenon is “State of Grace,” the lead-off track (and promo single) from Taylor Swift’s latest effort, Red. Something of a departure for the 23-year-old country-pop chanteuse, the self-penned, U2-styled rocker got a fair amount of attention for its predominance of Edge-like delayed guitars and aggressive, Larry Mullen-esque floor-tom backbeat. Like the Dubliners’ best work (“Beautiful Day,” “Vertigo,” to name a few), Swift’s “State of Grace” helps get its point across by using subtle shifts in recording dynamics—the kind of sound manipulation that not only involves knowing which instruments to use in the mix but also where to use them, and, above all, when not to use them.
Spare Parts
“Grace” opens with several bars of standalone drums—a sure-fire hook if there ever was one—and is immediately followed by producer Nathan Chapman’s twin electric-guitar overdubs, panned left and right (Chapman even allows a bit of real feedback to leak in right at the top—guitarists take note). As Swift makes her entrance (“I’m walking fast through the traffic lights”), the guitars retreat, leaving nothing but a spare backing of drums, bass and pulsating synth, allowing Swift’s vocal to become the focal point. The technique is repeated at the start of the second section (“You come around and the armor falls”), but at 2:06 the song takes an unexpected detour as the volume suddenly drops and Swift’s vocal is framed by several layers of ethereal, heavily echoed guitar. It’s just a clever fake-out, however; at 2:20 the guitars re-emerge with a loud slide into E, as Chapman begins to build the track in earnest, highlighted by Swift’s backing vocals which are separated in stereo. Rather than maintain this pace Chapman manages to take his foot off the gas yet again a full 3:30 into the track, before bringing all the elements back into the mix (in classic U2 fashion) for the song’s closing vamp.
Taylor Made
Clocking in at just under five minutes, “State of Grace” defies a number of modern-day pop-music assumptions, the most obvious of which is that the vast majority of listeners don’t have the wherewithal to sit still for just under five minutes. But Taylor, along with producer Chapman, engineer Chad Carlson and the rest of the crew at Nashville’s esteemed Blackbird Studios, make it all work—in large part by working the dynamics of a great song to perfection.
While home dwellers may not have access to the same kind of top-shelf machinery, we can certainly benefit by adopting some of the tone-shifting techniques brought to bear on the likes of “State of Grace.” For one, try to use overdubs judiciously—when it’s time to mix, keep the focus on the main ingredients (drums/bass/rhythm instruments, etc), adding instrumental coloration only as needed, and, most importantly, at critical junctures in the song. If, for instance, you’ve tracked several different guitar parts, try waiting until the start of a chorus or bridge section to bring them into the mix (and not all at once, either), then pull them back out again as the song returns to the main verse. Introducing a new sound in this manner acts as a subtle “hook,” helping to grab the listener’s attention.
Of course, not even the most clever mix will be able to salvage a lackluster song, so, as always, great material comes first. Still, there’s no denying the many benefits of using creative engineering in order to bring out the best in a compelling piece of music.
And girls, remember the candids from the studio in LA? It's Conway Studio, where MM & Dr Luke work. This is just a part of the change right? Turning to a vapid pop star, will never be taken seriously, no more longevity in the future. Wasn't she preaching about how she wants to be taken as a serious artist, with longevity and *****? I guess it's just part of the change. We should accept this, right?
And girls, remember the candids from the studio in LA? It's Conway Studio, where MM & Dr Luke work. This is just a part of the change right? Turning to a vapid pop star, will never be taken seriously, no more longevity in the future. Wasn't she preaching about how she wants to be taken as a serious artist, with longevity and *****? I guess it's just part of the change. We should accept this, right?
As long as she continues to deliver the heartfelt masterpieces written based on her true feelings and keeps giving back I'll still support her. No need to be negative, I think she's fine.
You know, she wanted to be taken as a great artist. But why doing the exact opposite now? I don't think she will learn her lessons. That MJF tweet, playing the victim once again. Another sessions with MM.
Also she's acting like 15. ****ing annoying.
I should shut the **** up until the morphine gets out of my system.
Hey guys, i know i don’t normally post much other than the normal rant, but this girl’s name is Kayla Kincannon, i go to school with her, i’ve known her since the fifth grade, and last year she was diagnosed with a tumor in her brain/ brain cancer. With some help of the great doctors in my area, they got the tumor down to the size of a pea. Unfortunatley, just a few days ago she was diagnosed once more with another tumor. This time, its the size of an orange and they told her she doesnt have much longer. She’s such a beautiful girl, her birthday is tomorrow (she’s going to be seventeen.) and anyways, she really really really loves taylor swift. That woman is her idol, and my entire school has banded together to try to get her to meet taylor (which doesnt happen often where i go.) We’re trying to get it to trend on twitter as of now (#OperationGetKaylaToMeetTaylorSwift ) but if you guys could help me out by tweeting and posting and reblogging and spreading the word, i’d really appreciate it. Kayla is so beautiful, inside and out. its such a tragedy to hear this, and i cant imagine what her family is going through. Please, help spread the word. It would mean the world to me.
I sometims wonder why she does all this ****. All the PR, the fake relationships, playing the victim card, and going along with all these ********. It makes me wonder if she does it for the $ or because she's a good person.
