( EW.com ) -- The writer James Dickey once described a poet as `` someone who stands outside in the rain , hoping to be struck by lightning . '' He could 've been talking about Taylor Swift . When the Dean of Tween is n't inviting guys to meet her in the pouring rain , she 's courting danger any other way she can , just for the drama of it all . Her new album is called `` Red '' -- as in red light or red alert -- and it finds her singing about walking directly into traffic , wading into quicksand , and flirting with the kinds of jerks Kanye West might toast to . ''You look like bad news , '' she purrs on `` 22 . '' '' I got ta have you . '' One gets the feeling that it 's not this guy 's love she 's after . She 's just using him for the breakup songs . This time around , it 's getting harder to feel sorry for Swift . Whether she 's plucking her mandolin , belting out U2-inspired arena rock , or harmonizing with Gary Lightbody of Snow Patrol or Ed Sheeran , she never sounds happier than when she 's getting dumped hard enough to justify a good revenge anthem . The quotable Taylor Swift . Luckily , she 's recruited the world 's greatest boy-shaming pop team -- Max Martin , the Swede behind Kelly Clarkson 's `` Since U Been Gone '' and Pink 's `` So What , '' and his partner Shellback -- to produce three of her best tell-offs yet . The smash `` We Are Never Ever Getting Back Together '' is such a sublime explosion of Euro-pop glee , robots will still pillow-fight to it in 2035 . And between the dubstep-lite chorus of `` I Knew You Were Trouble '' and gooey-sweet synths of `` 22 , '' Red should be required listening at the EDM Camp for Girls , if such a thing existed . ( In Swift 's polka-dot world , it totally would . ) ''22 '' also shows how savvy Swift is about uniting guy haters of all ages . After enlisting her girlfriends to `` make fun of our exes , '' she invites them to dance `` like we 're 22 . '' She is 22 , but this song belongs just as much to the preteens and power moms who pretend to be that age . At times , Swift sounds too eager to TMZ-ify her own life . ''Starlight '' seems to nod to her recent Kennedy wedding-crasher scandal ( `` We snuck into a yacht-club party/Pretending to be a duchess and a prince '' ) . And `` Treacherous '' is nearly NC-17 . ( When she sighs , `` I 'll do anything you say , if you say it with your hands , '' it 's safe to assume she 's not dating an ASL interpreter . ) But the dishiest track is also one of the best . Over plaintive acoustic strumming , `` All Too Well '' recalls a trip to meet an old boyfriend 's family ( Thanksgiving with the Gyllenhaals , perhaps ? ) , and goes into heartbreaking detail about nights spent singing to the radio or flipping through photos of her ex as a `` little kid with glasses in a twin-size bed . '' She leaves her scarf at his sister 's place , and he keeps it long after they 've split , which makes you wonder . `` Red '' might be about flirting with danger , but who 's risking more here : Swift , or the guy whose baby photos are now public domain ? For him , it 's not such a fair trade . He walks away with a scarf . And she gets the rights to the memory . B+ . See the original article at EW.com . CLICK HERE to Try 2 RISK FREE issues of Entertainment Weekly . © 2011 Entertainment Weekly and Time Inc. All rights reserved .
''We Are Never Ever Getting Back Together '' is a sublime explosion of Euro-pop glee . The song was written by the British singer and songwriter James Arthur ('' 22 '' also shows how savvy Swift is about uniting guy haters of all ages .