With the release of her new album’s first single, “We Are Never Ever Getting Back Together,” Taylor Swift made another move toward global pop domination. This Rolling Stone profile touches on the requisite points for such a goal: the collaborations with pop Svengali Max Martin, the power-coupling with a Kennedy, references to U2. But as Spin‘s Marc Hogan points out, there’s an even more inclusive nugget buried within the innocuous questioning: the tossed-off aside that “another key track even features a dubstep-inspired bass breakdown,” which would be a sensibly zeitgeist-grabbing creative decision from any other pop star except the one who takes her visual cues from My Little Pony: Friendship is Magic.
Which isn’t to denigrate Swift’s persona—personally, I have a lot of tender memories associated with “You Belong With Me”—but she’s the human personification of a bag of Sour Skittles, not the wub-collecting warrior queen you’d expect to drop the bass. Which means if this works, it’ll have to blow away every image we associate with Swift—the post-Kanye sniffling, the girl-done-wrong-by-John-Mayer innocence, the perpetually shocked expression every time she wins an award—and begin to think of her as the clubbier, druggier creature usually birthed from any type of dubstep association. She’s about to turn 23 in a few months, which means it was bound to happen soon enough.