Good Lord Almighty, Taylor has given us a new album.

The much anticipated and debated “Midnights” is officially out. And to put it in a few words: back to her pop roots.

“Midnights” is unapologetically pop. With the help of longtime collaborator, Jack Antonoff, Taylor has shed the guitars and strings, in lieu for snares and synths.

I won’t lie, “Midnights” does not have the phenomenal songwriting that “folklore” or even “evermore” had. If you have never enjoyed a Taylor Swift album besides “folklore” or “evermore,” “Midnights” is not for you. “folklore” was stripped down to folky instrumentals, strings and symphonies, and a brilliant flex of Swift’s songwriting ability. “Midnights” is not a display of songwriting, but rather the art of pop music.

Songs like “Karma,” “Anti-Hero,” and “Question…?” are proof that Taylor knows her way around a pop song. They are what I like to call sleepover songs. They have that easy listening production, catchy lyrics, and vague enough relatability to be an instant hit whenever you play them during girls night.

I don’t mean that in a derogatory way by any means. Writing good pop music is an art that Taylor has perfected. Not to mention the transparency of “Anti-Hero.” The song feels like you’re listening to Taylor’s deepest anxieties. It takes a great songwriter to make such a vulnerable song a total banger.

Furthermore, the opening and closing tracks of the album are incredibly strong. “Lavender Haze” is arguably one of the top three on the album. It has an almost jazz sound and perfectly opens a new era for Taylor. “Mastermind” is one of my personal favorites. It is an emotional close for a extravagant album. The synths are working overtime but are at their absolute best.

“Midnights” also has some calm moments to offer. “Labyrinth” is another favorite of mine. Despite it’s more electronic sound, it feels like the most raw song on the album. I think it is the strongest song, lyrically speaking, on the whole album. It wouldn’t surprise me if Taylor said she just ripped out a page of her diary and made it into this song. “Snow On The Beach” is a soft, but fun song. Despite the backlash about the lack of Lana Del Rey on a song claiming to feature Lana Del Rey, the two songwriting titans harmonize perfectly. The song would be even better if it showcased more of Lana’s signature breathy and soft vocals, but it is still a great song without.

The most “evermore” reminiscent song on the album is without a doubt “You’re On Your Own, Kid.” It reminds me of “it’s time to go” from “evermore.” This song might be tied with “Labyrinth” for best lyrics on the album. Taylor is at her best when she is storytelling, and “You’re On Your Own, Kid” is a beautiful fable sung from the lips of Taylor herself.

This album is not without it’s flaws. “Maroon” is a fine song, but can be a bit forgettable when put between two absolute bangers (“Lavender Haze” and “Anti-Hero”). “Bejeweled” is a very fun listen, but at times it is a little to reminiscent of the weaker tracks on “Lover.” Bubble-gum pop sounds and lyrics should be used sparingly, and Taylor went a tad too heavy-handed on “Bejeweled.”

I can’t leave without addressing the “3am Edition.” Taylor surprised fans with 7 bonus tracks, all produced by Aaron Dressler. The “3am Edition” tracks might be a little bit stronger than some of the main tracks on “Midnights.” It pains me that these songs weren’t on the main album. “Glitch” and “High Infidelity” are pop perfection. “Bigger Than The Whole Sky” reminds me of “epiphany” off of folklore. But the true star is “Would’ve, Could’ve, Should’ve.” This song showcases all of Taylor’s strengths. It is a perfect song, if I could recommend one song off of the whole album, it would be this one.

Being completely transparent, I don’t think Taylor is capable of putting out a bad album. She has cemented herself as one of the pop music greats. “Midnights” is phenomenal.

Give it a listen, and share your thoughts.