AlbumbyMiley Cyrus

Released in 2019, 6 tracks, 19 min



Jun 14, 2019

The Queen Of Impudence.

Written by @FerSP from Fernando Sempere  / 14 mins read

I could spend hours and hours writing about Miley Cyrus. She has always fascinated me and I have wondered what will go through the head of this magical, changing and disdainful being that in her day was the prodigy child par excellence, loved by the whole world. The ex-queen of the Disney world lived a reality in her childhood and adolescence that no other child has ever lived and this made her mature (and also rebel) at early ages, in order to get her own voice heard. To her long-lived 26 years, it seems wise to me, able to give you any advice by putting an insult in the middle of the sentence and ending it with her horny laughter. I would not be surprised if a person who has lived in the spotlight since she was born, has progressed more quickly than the rest of the mortals of her same age, having lived much more (in any imaginable sense) than someone who doubles her in age and giving it a kind of "superior" mentality and way of thinking, and luckily, in a good way. She reached a point where she got tired of having to give explanations and the rebellion and the party have been her banner during the last years. Can’t be tamed left no doubt about the indomitable spirit that the world had created for Miley, and it was fully corroborated with the controversial Bangerz, with which this girl from Tennessee earned a do-what-I-want-and-I-don’t-give-a-fuck title. Many would want to do this too. Open to to all types of criticism (which she doesn’t give a damn, to be honest), Miley has been doing what she wants for many years. And it has been with the years when I finally believe that I have ended up catching the ''Miley Cyrus strategy'': to each album, a new facet of hers, a new character. But taken to the extreme, no half measures. Miley is a cheeky girl, we have taught her to be like that, I can’t imagine her doing what Lady Gaga does, which is to offer different roles of her personality but without these having just conquered Gaga's own spirit. Miley lets herself be completely absorbed by the character she chooses for her project, adopting a new being. From queen teen pop and soft disobedient rock with the most general sounds of these genres in their beginnings, evolving towards the most extreme rebellion in the form of sexual bombs and twerk with Bangerz, to be the most experimental artist, smeared with glitter and psychedelia with Miley Cyrus & Her Dead Petz, to finish reincarnating in a half-puritan and mature cowgirl that returned to its country origins with Younger Now. Nobody knows how to jump from one character to another as disparate as Miley in such a short time and without offering an evolutionary process to get used to the viewer. But, then ... Who is Miley Cyrus? Of all these interpreted roles, what would be the protagonist? Or does she show us a bit of them in each of her projects? It seems that the answer is coming with She is coming, the first EP of a trilogy (She is here and She is everything) that together will form what is expected to be the artist's masterpiece, She is: Miley Cyrus.

Miley feels good about not doing the right thing.

At the end of 2018, Miley joined forces with Mark Ronson to release the first single of the future project of the composer, Late night feelings, which will go on sale on June 21. The result was the excellent ''Nothing breaks like a heart'', a song that mixes intelligently dance, pop and country, and also presented a correct evolution of the overall sound of Younger now. It seemed to indicate that this sound could be chosen for the next project of the singer, because it was the right way. But we all know that Miley does not like to do things the way the right way. With She is coming, Miley returns to the nightclubs and the party, and in the background, to experimentation. An EP that when you listen to it the first time, it is strange, powerful and brazen. ''Mother's daughter'' is responsible for opening the first part of the future trilogy, a song where Miley is presented as a determined captain to her crew of fans (and the rest of the world). She commands, and if you do not like it, you can abandon the ship. ''Do not fuck with my freedom'' she sings, releasing a liberating and clear message of self-sufficiency and feminine empowerment (''look at her, she got the power'', she says). A sinister pop theme with electronic touches that shows us a comfortable Miley. She herself sings obscenities and says of herself that ''is nasty and is evil'' or '’Nile crocodile, a piranha''; and let's be honest, she fits better in this role of Miley than the good and sweet she offered in her previous job. There is a point of rebellion and dim darkness that fit perfectly in the Miley world, something that she has managed to carve herself. I do not know about you, but, even though ''Malibu'' is beautiful to me, I prefer ''Can’t be tamed''. Going back to ''Mother's daughter'', co-written by Alma, Miley offers the start of her new era with one of the best tracks of the EP (I dare not say that of the whole trilogy), which is obviously inspired by her mother Tish Cyrus, thanking she for her constant support. I wish to know what this woman has thought in the highlights of her daughter’s career. She may have inherited that tremendous capacity to "go through everything," something that has made Miley a totally free spirit, helping sexual and cultural liberation. Always from the most 'marginal' part of society, Miley has been fighting for LGTBI rights for years alongside the Happy Hippie Foundation, founded by herself. This liberation that Miley lives in her 24 hours of each day is also palpable in the lyrics of the project, highlighting ''Unholy'', where the singer is wild and provocative. With a song that rides between pop and trap, where a dark and little demonic atmosphere reigns, Miley surprises us with shameless phrases like ''Wake up in the middle of a breakdown / Have sex on the table with the takeout''. It is in the refrain where we understand the message of this song: ''I'm a little drunk, I know it / I'ma get high as hell / I'm a little bit unholy / So what? So is everyone else''. Miley is showing herself as she is, without fear and with her flaws. She is offering sincerity to get respect and acceptance. This is the skeleton of SIC, to love Miley as she is. ''I'm sick of the faking, the using, the taking (...) / You hate me, you love me, you just wanna touch me / I'm only trying to get some peace / So let me do me'‘, she sings. And she is absolutely right.

Miley reaffirms herself as the queen of impudence.

Trust is one of the powers that Miley Cyrus has. As if it were a modern actress of the untamed Hollywood girls, the American has never shown any hesitation in showing her body or saying what she thinks. In She is coming, she highlights how determined and sure she sounds in each song, creating powerful lyrics, which is more than clear that the singer has lived on her own flesh. Miley has taken the role of Bangerz party girl, but more consciously and maturely. If in her previous project, she sang while she was partying, in this she sings the day after, with a hangover in her house, saying "I’m not going out again in my life" but knowing that she will. It is in her lyrics where we observe this trust, where she talks about socially badly viewed topics, but we already know, she does not care. ''D.R.E.A.M.'', the next song, is nothing more than an acronym for '' Drugs rule everything around me '', where Miley considers herself a survivor in the world of party and excess. No need to be too smart to imagine the sound of this song: pop and trap soft and sleepy, with a light touch R&B, all wrapped in a smoky and psychedelic environment. Although it only relies on a beat, it does not reach three minutes, making it catchy and not repetitive at all. We return to the importance of the lyrics, where Miley returns to be sincere and show herself openly: she says that she is the last one to leave the party, that she wakes up with new tattos or that, even if you are a stranger you can stay in her bed "cause I'm in the mood''. The last seconds belong to Ghostface Killah, which without any warning offers some -unnecessary- verses of rap that wake you up from the state of chill and prepare you for what comes next: ''Cattitude''. Be careful, 'cause the library is officially open! The most rambunctious and cheeky song of her whoooooole career is here. Along with the mother of all drag queens, the goddess RuPaul, the singer offers a song worthy of any queer party ready to dance vogue, where the protagonists are, yes, their pussies (‘’I love my pussy, that means I got cattitude (...) Come and get it 'cause I know you want some’’), she tells us while she leaves us speechless with the speed of this subject while she tells us a thousand and one times that she is nasty. Mind you, Miley does not get on the drag trend, she has supported this group since day one. I would like this to be clear. The pride in being a woman is as palpable as the horny Miley is. This song transmits power in each verse, the power to normalize sexuality. But there is something wrong in this hybrid between any of Bangerz's hip-hop songs and the drag queen's ''Call my mother'': this theme is presented better in idea than in execution. The song is forced and badly executed. Miley shows too much cockiness and the step of RuPaul is anecdotal after the frenetic rhythm. The track works and will please fans without any criteria (henny, yas!, werk and others), but this song could have been a queer hymn and it will not be. Finally, the fun fact of the album is found here, with the following verse: ''I love you Nicki, but I listen to Cardi". Nicki, what's good? Gurl...

Claiming party and heart is possible.

Miley's fight in She is coming, is the right to be herself and do what she likes, so we could translate it to the right to the party. But it goes further, it's about the right to do what you want with your body, which you own, without being criticized for it. The right to do what you want whenever you want, not to feel bad if you want to enjoy sex or go out on a Saturday night, if you want to dress up feeling sexy. It is your body and it is your world, and there is no more. Miley raises her fist in peaceful vindication mode in ''Party up the street'', where she fights for her right to the celebration. A strange dancehall song that presents itself in extremes: either you love her or hate her. For me it is the rough diamond of the album, and the best song in it (unpopular opinion). Produced by Mike WiLL Made-It, the semi-tropical/tribal rhythm of the song invites you to dance slowly, but without pause, while Swae Lee's voice brings an air of reggae to this ode to the party, where it stands out above all a melodious and slightly elegant air thanks to the inclusion of wind instruments. To conclude, we found ''The most'', a song that seems to be born from the Younger now era. Between pop and country, it reminds us to ''Nothing breaks like a hearts'' and that is because... surprise! It is written and produced by Mark Ronson. Miley stops describing her lifestyle to dedicate this song to her husband, Liam Hemsworth. A song to love and that special person, where a message is offered as beautiful as cruel, that love hurts: "Why do I hurt you so? Is it 'cause you love me the most?''. Miley creates an emotional atmosphere for this song, nostalgic and sweet, which highlights something that we have missed many times throughout the EP: her voice, which still does not appear in all its glory. A curious way to close this small project, the song is loose between so much festive rhythm, but it reminds us that between so much excess, Miley has a heart.

She is coming and we are waiting for her with open arms.

Did we discover who is Miley Cyrus with She is coming? No. But she didn’t do a bad job and she is leading us towards something: the singer has taken the best of her previous albums and has tried to create a mix of these. SIC is experimental, but not as much as Miley Cyrus & Her Dead Petz; it's sexy hip-hop, but not as much as Bangerz; It's country-sweet, but not as much as Younger now. We find the artist more natural and carefree than usual, and it seems that no longer adopts any role. Cyrus has stopped extreme personalities that form it, has softened in favor of seeking a harmony between them. And, although it lacks a way to go, it is a fact that the artist is maturing. Even so, SIC is far from being Miley's masterpiece. She has stepped forward and stepped back. It has advanced since it seems that it has directed her destiny to find her sound and place in the industry after so much roundabouts in the road. But she has taken a step back, since this project is about to be polished, there is little connection and at times it squeaks into chaos. Although it is clear that Miley can shut our mouths fast with the two EPs that are to come, which is when we can see the true magnitude of this work, which as a marketing strategy in fascicles. A puzzle that will introduce us to the real Miley Cyrus with She is: Miley Cyrus. The singer faces the project with greater expectations of her career, but it is clear that she couldn’t care less about expectations. What is clear already with this first part is the message of the entire project: Miley shows herself as she is seeking acceptance and peace. As much as she does what she wants, she has been criticized throughout her life, and she intends to educate us so that we accept any style of life that does not harm our neighbor. Using the party as an excuse, and with some cheeky lyrics, Miley offers a message that goes much further: respect and live our lives without taboos. A fun, daring, experimental and ironic project (you just have to look at the name of this one) to show Miley a partying and full of confidence. A confidence that I was fortunate to witness live at the Primavera Sound 2019, when Miley left us a couple of memories to my friends and I in our long-term memory, recorded based on sensual movements and stream of voice. We wanted to be her, and she wished she was not a role model. Let's stop labeling Miley. She is not bad; she is not good. She is not pop; she is not rock. She is not country; she is not twerking. She is nothing and she is everything.

Jun 14, 2019
Miley Cyrus Manifests The Perfect Niche & Amalgamates From Her Previous Forms on New ‘She Is Coming’ Album.
I can’t believe how prolific Miley Cyrus is proving to be changing in and out of characters through each album, as She Is Coming is such a shockingly tasteful merging of her personas from her last albums yet resembles its own embodiment. I guess the fact the she is a former Disney Channel actor from her childhood should’ve given me a hint of her chameleon like potential but it’s so refreshing when the morphing of artistry is unfolding right before the eyes. It’s unfortunate that we only get 19 minutes of this country-infused She Is Coming as the EP consists of 6 tracks because it’s over in a flash and you feel like there’s something incomplete about the totality of the character she embodies. Miley Cyrus also confirmed that there will be 2 more EP’s to follow up She Is Coming, called She Is Here, and She Is Everything due to drop throughout this year, 2019. As I was saying she does find a nice & trill consolidation between her last personas and a new one as well singing “I’m a little drunk, I know it, I’ma get high as hell. I’m a little bit unholy, so what, so is everyone else.” It’s been almost a decade since we were smacked with her first major hit machine “Wrecking Ball”, as it was in 2013 when Miley Cyrus took a different route in the music industry inviting the Britney Spears representing Larry Rudolph to be her manager as the authentication of deal with RCA Records surfaced. With She Is Coming Miley Cyrus continues to carry that torch with RCA and enlisted hot producers including Jasper Sheff, King Henry, and Mark Ronson who also produced “Nothing Breaks Like A Heart” dropping back in November 2018. Miley Cyrus also enlisted Pluss, RZA, Andrew Wyatt, and Mike Will Made It for She Is Coming as well.

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  • May 31, 2019

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