When Taylor Swift first announced the release of her 10th studio album “Midnights” at the MTV Video Music Awards, I, like many other fans, had no idea what to expect. Her last two original studio albums, “Folklore” and “Evermore,” channeled a soft, indie atmosphere, while her recently re-recorded albums “Fearless (Taylor’s Version)” and “Red (Taylor’s Version)” marked a return to her country roots. With all this skipping from genre to genre, “Midnights” was much of a wild card to predict.

As it turns out, “Midnights” is both an amalgamation of her previous albums and something completely unique. In the album, Swift transports listeners to a hazy cocktail lounge filled with heavy bass and sweet yearning. Some songs could easily fit on other albums. “Vigilante Shit” would fare just as well on Swift’s sixth studio album “Reputation.” Others, like “Midnight Rain,” are quintessential “Midnights.” After the vividly constructed fictional worlds of “Folklore” and “Evermore,” Swift’s writing has returned to autobiographical, particularly with tracks “Anti-Hero” and “Mastermind.” Her lyricism is as clever and evocative as ever: “Spider-boy, king of thieves / Weave your little webs of opacity” from “Karma” is one such gem of a line.

Swift’s new album is not without its disappointments. “Snow on the Beach (feat. Lana Del Rey),” for one, is a gross misnomer, as the track features exceedingly minimal Lana Del Rey. Nonetheless, “Midnights” is filled with polished tracks that adequately meet, if not quite exceed, Swift’s fans’ high expectations.

Even as Swift constantly shifts styles and genres, “Midnights” shows us that one thing remains consistent: Swift never fails to surprise and deliver with adaptability and brilliance. Although not her most thematically cohesive or lyrically accomplished album, “Midnights” is a solid B+ listen that provides both catchy tunes and emotional depth.