Artistic maturations are always welcome, this year they were accompanied by some of the best releases of the year: we had the return to house-pop of the legendary Lady Gaga with ‘Chromatica’, the impeccable and synesthetic ‘Folklore’, by the titanic Taylor Swift, and ‘Future Nostalgia’, Dua Lipa’s simple and explosive invitation to the dance floors. However, another name was put in the spotlight a few months ago with the upcoming announcement of their long-awaited new studio album: Miley Cyrus.
The beloved artist, who also rose to prominence playing Hannah Montana in the eponymous Disney Channel series, promises us her glorious return to the music industry from ‘SHE IS COMING,’ a short EP. released last year that should have won a sequel, but ended up fading from the limelight. Fortunately, Cyrus completely changed his plans and embraced the rock-pop of the last decade with “Midnight Sky”, giving way to nostalgic forays from the 1980s and 1990s and somewhat frustrating The Runaways ‘Prisoner’ disco-punk. , in conjunction with Dua’s explosive vocal surrender. But nothing (I repeat: nothing) had prepared us for ‘Plastic Hearts’: the compilation of the originals is, by far, the singer and songwriter’s most consistent musical entry, and a leap in her transformative and extremely nostalgic which, in the end, was all we wanted for this year.
Unlike the breakout bets we had on the pop scene, including the names mentioned in the first paragraph, Miley never stopped at any point and, through powerful semi-ballads and hard-hitting, blatant claims of independence and empowerment, she took back possession of her art to talk about personal events, sudden relationships and a comeback to all ages that have accompanied you since the premiere of “We Can’t Stop” in 2013. Well, we all know your ‘Bangerz’ era was well received by professional critics, rediscovered years later as a worthy entry for an artist in search of her own identity. Between highs and lows, she had instead presented her fans with a side never seen before – and everything shifted to that moment.
Either when you retreat into soliloquies of loneliness and regret, with the inverted minimalism of “Golden G String” (applause for an intellectual and musical journey of admirable density), or with the acid irony of the powerful “Bad Karma” Bringing no one Less than the iconic Joan Jett and passionate guitar chords, Cyrus knows very clearly how to guide his production. She’s got the knife and the cheese in her hand and all the items she wants at her disposal, without thinking twice before adding a layer or two that explains the whimsical detail of the tracks.
The album opens with the critical abundance of “WTF Do I Know” – one of the best songs she’s delivered to us since “Breakout,” still in 2008. Making progressive mentions in her early years, leaving instead of the very melodic and muffled presence of an electric guitar and occasional pandeiro, the only mistake of the piece is to be too fast and to pass in the blink of an eye. The same instrumental use is rediscovered, this time guided by ’90s synthesizers, in’ Gimme What I Want ‘, an iteration that most demonstrates your need to own your nose, in which’ either you give me what I want, or give myself to myself ”.
For those who do not know the trends that Miley nurtures for her compositions, she is the goddaughter of Dolly Parton and daughter of Billy Ray Cyrus, who introduced her to the prophetic power of country and American. It is for this reason that, among the pieces that isolate themselves in rock, we have the poignant character of the resonant strings of the guitar, as in “High”, whose formal growth is eclipsed by melismas and hoarseness. voice of someone who is suffering and caring for them. your way. The same goes for “Angels Like You,” which despite the lyrical lyrics, clashes with the sonic content of the rest of the CD and seems recycled from so many other daring adventures – in addition to sounding longer than it is. ‘it actually is.
It’s remarkable how the performer drains an extremely pessimistic period as much as possible: she even cultivates some European influences destined for the scariest and most produced track on the album, “Night Crawling”. The evocative lyrics nurture alliterations and assonances that send us back to the 1970s and bring an exuberant chemistry shared with Billy Idol – moved by the guitar and synth-rock echo that would become so majestically revered in the following years (and reclaim a space deserved in a mimetic ode to the past). Its counterpoint emerges with “Hate Me”, whose transitions underlie a roller coaster of emotions and notes.
Bordering the elegiac and crossing the barriers between genres, “Plastic Hearts” is the album that manages to unite everything we love about Miley Cyrus – and what it promises us since its surprise appearance a few years ago. month. In the end, we are rewarded with much more than we ask for and with dropouts so fantastic they are cruel.
Rating per track:
1. WTF do I know – 5/5
2. Plastic hearts – 4/5
3. Angels like you – 2.5 / 5
4. Prisoner feat. Dua Lipa – 3.5 / 5
5. Give me what I want – 4/5
6. Night Crawling feat. Billy Idol – 5/5
7. Midnight sky – 4.5 / 5
8. High – 3.5 / 5
9. Hate me – 4/5
10. Bad Karma feat. Joan Jett – 4/5
11. Never be me – 4/5
12. Golden thong – 4.5 / 5
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