​Album Review.
Likes: Week Without You, Miss You So Much, Bad Mood, Inspired
Overall: Miley returns to her pop-rock/country roots; delivers sincerity
 
After 2008's pop-rock Breakout, singer-songwriter Miley Cyrus diverted from any artistic potential she showed to do a demonstration of the "teen-to-adult-star" playbook. In 2010, she traded out her guitar for a techno kit, hoping to prove she Can't Be Tamed by doing her best Britney Spears impression. When that didn't work, she problematically relied on hip-hop's counterculture stigma to shed her image as a Disney star with 2013's Bangerz. Now that her (unnecessary) mission is accomplished, she's released the kind of album she should have been doing all along with the heartfelt Younger Now. Written and produced exclusively by Cyrus and Oren Yoel (Cyrus' godmother and country legend Dolly Parton worked on the exception, "Rainbowland"), its sincerity is insulated. The perspective isn't convoluted or contaminated by a plethora of contributors (by the way, Yoel was a previous partner on the Bangerz single "Adore You").
 
Cyrus' submissions about personal growth (ex. "Younger Now"), the world around her (ex. "Inspired") and romantic relationships emanate like poetry written on a late-night after mulling over life. The resentment and discontent is seething (ex. "Love Someone"), the longing is doleful (ex. "Miss You So Much"), and the adoration is boundlessly love-struck (ex. "I Would Die for You"). "Thinkin'" is the only glossy track that isn't a pool of feelings. The lyrics' touchy energy is underpinned by the musical production. The sentimental sweetness has a dramatic crust, as acoustic rock is happily married with templates of classic country and western-film score (ex. "Bad Mood"). Cyrus is so cozily at home on this record and it's palpable. 

Album Review.
Likes: Maybe You’re Right
Overall: Not as awful as expected. Cool music, but just okay lyrics and annoying vocal.

So, guess what? “Bangerz” isn’t the flaming, hot trash mess one might think it would be, given the gimmicky “shedding my child-star image” antics Miley Cyrus has been up to lately. That said, it’s that much more confusing why Cyrus would go to such headline-making lengths to promote the album. Musically, the base of the record is far from her pop and country roots, therefore “Bangerz” would’ve stood out on its own without the silly hoopla. The musical production (Mike Will has majority of the production credits) is quite interesting and is what got my attention first. There’s definitely use of synthpop and techno elements and effects, but it isn’t applied in the usual, formulaic way. Often swinging from quietly sad to charging, the tones are glum, deeper and rougher with southern hip-hop as a main influence (although in the realm of hip-hop, the tracks may come off as generic). The biggest tastes of pop come from “#GetItRight” and “Maybe You’re Right.” I love the melody of “#GetItRight,” but ill-corresponding lyrics and vocal ruin it for me. It’s supposed to be a “stop what you’re doing and get in this bed” song, but the tempo is just too fun and giddy; it’s more joyous and “feel-good” than sexy. Couple that with the gradually rambling lyrics and the acquired taste that’s Miley’s high-pitched and somewhat whiny smoker’s voice and you’re nowhere near wanting to take your clothes off. Her voice is the main reason I wished “Maybe You’re Right” was sung by Pink instead. Pink’s voice is husky, but it’s sexier because it’s not as high and more soulful.

In my opinion, Cyrus’ stronger ability in the past was song-writing, but she faltered (Cyrus co-wrote most of “Bangerz”). The brainless moments are few (even the bump-down-the-street-able “Love, Money, Party” has some sort of meaning), but the lyrics (mostly about failed love) aren’t as fleshed out as they could be. You’re hit with assorted pieces of imagery that never tell a full story, which is disappointing, because there was so much potential. The best example of this is “My Darlin’.” 1st, you get there was a hope to married, followed by making a movie in 3D, a plea for the person to stay, then an ultimatum to accept things a certain way. There are no transitions between these ideas to connect them or inform the listener on what exactly happened in this relationship. The most concept-coherent songs are “Wrecking Ball,” “Drive” & “Maybe You’re Right.” Other tracks that could’ve been delicious if the lyrics were more developed were the theatrical “FU” and the Cotton-Eyed Joe-ish “4X4,” featuring Nelly. The pop-epicness of a fellow Disney brat (i.e. Britney Spears) recording a Salt-N-Pepa sampled song  with a younging (i.e. Miley) who is clearly trying to mimic her career steps, never came into fruition on “SMS;” it is the most forgettable cut on the record.

One of the more annoying things about “Bangerz” is Cyrus’ attempt at rapping and her constant cursing. The rapping was just campy and I couldn’t take it seriously. The incessant cursing was unnecessary, didn’t emphasize or enhance any particular point and it just translated as her trying too hard to be, well, hard. The album is kind of difficult to listen to in its entirety. There isn’t anything smooth or pleasant enough in Cyrus’ voice to complimentary counteract the gravel in the music and the lyrics leave much to be desired. I liked the music, I loved that she branched out stylistically and it all fit her better than I anticipated, but it didn’t flatter what Cyrus is working with. Her voice isn’t going to change, so the music will have to be softer in the future. Maybe try R&B-techno instead of hip-hop techno.

Rock & Rant-When I need to quickly rant about music.

Just in case you live under a pop-culture rock, Miley Cyrus, the former Disney star from the mega-youth-phenom “Hannah Montana,” has been preparing over last several months for her upcoming album, “Bangerz,” in a way that’s made headlines. 1st came the single, “We Can’t Stop,” where she tries to encourage love and acceptance, but the promotion of drug usage and female self-exploitation kind of washed that out. Then came the strange associated music video many deemed sexually suggestive. The latest is a gratuitous MTV Video Music Awards performance with R&B crooner Robin Thicke that came with twerking (AKA butt-gyrating) dancers, a simulation of analingus and penis jerking, crotch rubbing and pushing her tail into Thicke’s groin. In her new video for the song “Wrecking Ball,” she’s licking a sledgehammer and swinging around naked. Most of this is causing a massive reaction because Cyrus was Mickey Mouse-affiliated and still has a large youth fan-base, but that’s also the very reason Cyrus is suspected to have initiated these shenanigans. If that’s true, I don’t get it.

I don’t understand Miley’s shock value tour. She may have thought it necessary because she’s known as a major child-star, but unlike most, Cyrus had a few things going for her that would make shocking to shed an image unnecessary. 1) As opposed to a Shirley Temple-type, Cyrus’ fame wasn’t reliant on being little and cute. 2) Although plenty of her fans were much younger than her, there were just as many around her age that would grow with her and view her as adult because they are as well. 3) She kind of laid low after “Hannah Montana” wrapped. She put out 1 album and got engaged. Given that she’s a decent songwriter, plays guitar and somewhat crossed over into country, all she had to do was take a break, then step back into the spotlight at age 20 with an artistically salient, likable album and Voila. Transformation done.

Hell, she might have even gotten away with crossing-over into the urban territory she desperately wants us to buy, had she played her cards with a little sophistication and acted like the music-serious person she claims to be. Instead, she headed the tacky, stereotypical route to incorporate more hip-hop and R&B influence into her sound. I’m sure she’s thinks she’s doing something cool and race-barrier-breaking by having all black female background dancers twerking, donning a grill with baggy pants and a toboggan, throwing up gang-signs and enlisting rap and R&B producers for her new project, but it’s all coming off like a mockery and minstrel show that I’m not sure why the black people around her are participating in. Maybe they’re educationally correcting her behind the scenes; who knows? She doesn’t seem to know any better. I don’t see why she couldn’t have just put out an urban record without all the visual bells and whistles. I came across an article analyzing the gender-bias and racial implications of the VMA performance that was linked to several other interesting pieces. On the surface, it may seem like a reach that Cyrus’ VMA act would suggest such things, but it was insightful reading. Another article purported that Cyrus isn’t trying to shed an image at all and that it’s a parody of what former child stars do to grow up, since in all of her sexually charged moments, she’s moving kind of awkwardly, instead of in an arousing way. Whatever the case, Miles, you were cool the way you were, even though I know the media took inspective shots at you then too.

It might not be a fair comparison, but Cyrus’ Disney contemporaries seem to be transitioning into adulthood fairly seamlessly. Demi Lovato (“Camp Rock”) said “Ain’t nobody got time for that” to wilding out after going public with her battle with bi-polar disorder, self-harm and bulimia. Since then, supporting related causes (in addition to anti-bullying) have become Lovato’s platform and she’s gaining more street cred musically, crafting and scouting talent on the U.S. edition of “X Factor” on Fox. Selena Gomez (“Wizards of Waverly Place”) has concentrated on developing a music career since her sitcom closed and doesn’t much garner negative press. Hopefully, I’m not speaking too soon.

Single Review.

Miley, Miley, Miley. It’s been about 3 years since we’ve heard from Miley Cyrus musically. At the height of “Hannah Montana” instant mega-fame, she took a well-deserved break that was probably the best for her personally and her career, because she would resurface a little older (she’ll be 21 in November) and could skip the awkward transitions that come with going from tween dream to young adult. As reports came that Cyrus was back in the studio, some eager and curious energy built as she was rumored to be working with many urban & R&B acts, like Mary J. Blige. Who knew what was coming, but it was sure to be interesting; indeed it is. “We Can’t Stop” hit the radio and internet today. The song itself has a nice flow and isn’t too overbearing on effects like most current pop tracks; it’s the lyrics that make “Stop” dismissible. The subject of often unnecessary criticism, Cyrus has been all about pushing social acceptance. “Stop” continues on that path with pro-LGBT lyrics like “It's our party, we can love who we want, we can kiss who we want….Forget the haters, 'cause somebody loves 'ya',” but such matter gets distracted from with the promotion of drug use (“We like to party, dancing with Molly…trying to get a line in the bathroom”) and girls bringing sexual attention to themselves (“To my homegirls here with the big butts, shaking it like we're at the strip club, remember only God can judge you”). The song’s purpose is counteractive to itself. Guess Miley is going to be catching more heat; this time it’s warranted. I don’t think I have to explain why glamorizing drug use and self-exploitation is a negative thing. Try again Miles.