It’s not every day your favorite childhood musical artist re-records possibly one of the greatest breakup albums of all time. At midnight EST on Nov. 12, heartbroken and happy-go-lucky Swifties alike rejoiced in the 30-track release of “Red (Taylor’s Version),” returning to old hits such as “22” and falling to pieces upon first listen of “All Too Well (10 Minute Version).”

Jake Gyllenhaal, your days are numbered. Although Taylor Swift is re-recording her first six albums to rightfully take control of her work, there are some fringe benefits for Swifties — the renewed vigor against veteran actor Gyllenhaal has been the subject of numerous tweets, Tik Toks and even mainstream news articles. The “All Too Well” short film alone has fans up in arms over Dylan O’Brien’s spot-on portrayal of Gyllenhaal’s gaslighting during his relationship with Swift.

Beyond the chaos that’s inevitably been brought upon Gyllenhaal’s publicity team with the re-release of “Red,” the re-recorded album brings new richness and depth to what was already an impressive album. Swift’s mature voice and the introduction of stronger bass lines, drum tracks and more to old hits bring a fresh sound to songs that are nearly a decade old.

That’s not to say “Red” didn’t have its faults — a questionable lyrical choice here, a lackluster track there — however, it’s uncouth to suggest technical details alone drag down this emotional masterpiece of an album. “Fearless (Taylor’s Version)” may have become repetitive in its vault tracks, but the range of all nine previously-unreleased songs on “Red” is impressive, even from Swift. Left as works-in-progress upon the original album’s release in 2012, there’s hardly a vault track that won’t leave you itching to take to the dance floor or sob uncontrollably, whichever comes first.

Vault tracks “Better Man” and “Babe” have been heard by fans before, from country bands Little Big Town and Sugarland, respectively. Although they gained traction long before Swift even mentioned re-recording her albums, it was equal parts satisfying and heartbreaking to hear Swift sing both songs herself. “Babe” is admittedly a slightly more upbeat tune than “Better Man,” in part thanks to a brassy backing track, but both paint a picture of a failed relationship that tracks with the rest of “Red.”

“Nothing New,” Swift’s long-anticipated collaboration with Grammy-nominated artist Phoebe Bridgers, gave a gut-punching reflection on early adulthood and the loss of youthful innocence. Swifties and Pharbz alike weren’t prepared for the emotional toll of this simple track — wrapped in sad memories and smothered with nostalgia, it’s akin to Lorde’s “Liability” and a number of tracks from Bridgers, the queen of sad girl indie folk.

The fourth vault track, “Message in a Bottle” is delightfully upbeat, a welcome addition to an album widely considered to be one of the best breakup albums. Peppy synthesizer and occasional twinges of guitar define a song that definitely doesn’t contain Swift’s deepest lyrics, but still manages to tug at your heartstrings. “The Very First Night” is similar, musically and lyrically, serving as a lighter companion song to “Come Back… Be Here.”

Those who were a fan of Swift’s country albums were surely pleased to hear “I Bet You Think About Me,” allegedly another feisty track about Gyllenhaal’s shabby track record in their relationship. The chorus is undoubtedly the best part of the song — the first few lines sweep listeners up in a world of bitterness, the titular line bringing them right back down with a swell of harmonica and a couple string instruments.

“Forever Winter” is just about as depressing as it sounds. Told from the perspective of someone losing their friend to continued mental health struggles, “Foster the People” frontman Mark Foster provides the background vocals to this sorrowful, country-esque track. The trumpet makes another appearance in the back half of the song, the brassy notes pushing the urgency of darkness and distress.

It’s time to talk about the 10-minute version of “All Too Well.” From the get-go, fans will notice a piano, rather than a guitar, plays the iconic opening chords, already setting a different tone from the original version. From there, all is normal until the 2:10 mark — if you listen closely, you can collectively hear a generation of Taylor Swift fans losing their minds at “And you were tossing me the car keys, ‘f— the patriarchy,’” a line seemingly insinuating that Gyllenhaal’s manipulative tendencies were, at first, covered up in the relationship.

There are plenty of other new lyrics that deserve to be dissected in depth, from “You kept me like a secret, but I kept you like an oath” to “You said if we had been closer in age maybe it would have been fine/and that made me want to die,” but there’s not nearly enough time in the world to debate the gritty details. That being said, the 10-minute version of “All Too Well” is best served with a box of tissues and a heaping serving of relationship trauma.

If you’re really looking to cry, check out Swift’s short film accompanying the track — Sadie Sink’s performance as a younger, heartbroken Swift will make you sob over a relationship you never had.

Although there’s not too much to be said regarding the changes made to the original 20 songs on “Red,” Swift’s mature voice and improved instrumentals make for a pleasant listening experience, if nothing else. Some songs sound nearly identical — take “22” and “I Almost Do” — but others have a fresh new sound. “Girl at Home” crosses over into hyperpop at points with punchy synth, and “The Last Time,” featuring Gary Lightbody of Snow Patrol, features stronger drums and sounds even sadder, if that’s possible.

The emotional toll “Red” takes on listeners is almost unbearable, but not quite. Powerful ballads about red-tinged love and heartbreak mingle with some of the greatest pop songs in history for a two-hour listening experience that’ll make you laugh and cry, sometimes at the same time. Swift’s vice-like grip on the music industry is only proven with the release of “Red,” and it’s not hard to imagine she’ll live in our minds rent-free for years to come.