1. Track List (128)

Miley Cyrus Proves That She Is Beyond Pop Classification With Her Most Experimental Album ‘Miley Cyrus & Her Dead Petz’

Written by taylor
/ 6 mins read

From my critical standpoint, the total output on Miley Cyrus & Her Dead Petz far outpaces the sum of her tracks on her previous album Bangerz. This is a stylistic night and day scenario, but moreover, it is a cohesive album in a way that Bangerz simply was not. Bangerz was a comeback record, which needed to chart by incorporating trending sounds. A lo fi and Vaporwave aesthetic was also trending in a year like 2015, so I’m not surprised that a young serious musician like Miley Cyrus had her ears open to these sounds, and while she did my ears a favor by capitalizing on the wave that the Indie DIY set was riding, it was still quite a risky career move, especially since Miley Cyrus & Her Dead Petz doesn’t contain any obvious or pandering Pop hits such as “Wrecking Ball” or anything approaching the sound of raunchy party track “SMS (Bangerz)”. Oh to be sure, one of my favorite tracks here (from an album where 3 out of 4 could be considered favs) is the way raunchier “Bang Me Box” – but I know as well as anybody, that this is not some sort of vapid all-pleasing Dance Pop track. This is definitely Art Pop, as the whole album doesn’t merely aim to please, but rather expand the listener’s mind through very artistic choices, no easy formulas whatsoever, and an overall aesthetic nod to psychedelia, aided in large part by the production touches of band The Flaming Lips.

Grade A Work Will Change Your Misguided Perceptions Of Miley Cyrus

Down the line from it’s industrial opener “Dooo It!” the tracks are consistently blowing me away, from “Karen Don’t Be Sad” and its surprising, haunted Shoegaze design mixing with discordant, reverbed, John Lennon Brit Pop-ness, or the super experimental Rock on “The Floyd Song (Sunrise)”, with its elements of Goth, Freak Folk, and Alternative serving as an abstract eulogy for her dead Husky, then there’s the distant alien vocals and chords on “Something About Space Dude”, somber, subterranean, mixing the off key ghostly beauty of Q Lazarus and Julee Cruise, followed by the first truly Vaporwave entry after all of this The Flaming Lips Alt Rock freakiness, entited “Space Bootz”, sad mixed with upbeat, emotional yet casually non-committal. Not for the first time, some of the coolest, most experimental New Wave to vibe out to can be found on “Milky Milky Milk”, which include a sick instrumental breakdown and more haunted vocals. I am reminded of one of my favorite bands Cocteau Twins on the whimsical “Slab of Butter (Scorpion)” yet I’m happy to also hear that Cyrus is in no way emulating the distinct vocals of their lead singer Elizabeth Fraser, and instead doing her very own thing. Seventies guitar fuzz suddenly breaks in with some funk over a nineties sample-based rock rhythm. Randomizer effects feature on this and a few tracks, and also to a lesser degree on the very weird but kind of chill “I Forgive Yiew.” More even better Vaporwave zaps with ultra romantic retroness on the crystalline “Lighter”, reminding me of band Electric Youth, while on “Tangerine”, Big Sean sounds cooler than any collab he’s done with Cyrus before because it is over such a strange piece of David Bowie style Pop, and the A-list goes on, from an excellent Portishead meets Leonard Cohen lounge song “Evil is but a Shadow” that is purposefully cheap sounding and softly decadent, to a huger Portishead style anthem in “Cyrus Skies”, featuring haunted New Wave elements and a dark cinema touch that could do a James Bond opening justice.

This Album Is So Loaded With Content, I Am Forced To Parse The Good From The Excellent

“Dooo It!” continues the naïve-spelling theme of many of the track’s titles, celebrating a sense of stupidity, when Cyrus’ intelligence and her music here is anything but. The joint is a first taste of something completely different from the artist, and sports a Gothic, Industrial vibe, which works surprisingly well with some Trap influences. An okay attempt at some Lady Gaga balladry exists on “1 Sun”, good though better synth is already on the album. In keeping up with the personal theme of honoring animals who have impacted Cyrus’ life, she sings over a piano about “Pablow the Blowfish”, sort of her Michael Jackson and “Ben” ballad moment. A better piano ballad, with more creative melodic value, comes right after on “Twinkle Song”, a surprisingly Country leaning track considering how the album as been playing out, with interesting crescendos and a whining Neil Young styled vocal. “I Get So Scared” is the albums stand alone R&B number, where Miley Cyrus fascinates me with her smokers-throat Soul here, as the melody follows the same sexy melancholia of Jeff Buckley’s “Lover, You Should’ve Come Over.” The Nineties snap on “BB Talk”, a stylistic mix between Soul II Soul rhythm and Annie Lennox ethereal creativity, though Cyrus really does project her uniqueness through her blunt testimonial ad-libs and speakerphone crooning. The silly spelling continues, and so do the casual demo quality grooves on “Fweaky”, where Cyrus sings with sexiness, attitude, and emotion.

From The Best Hedonistic Groove To The Best Come Down Track, This Album Must Have Been Designed For Drug Use

I could gush all day over what probably is on nobody’s radar, which is “Bang Me Box”, a track that could compare with Prince’s kinky “Darling Nikki”, not merely because of the Minneapolis synth funkiness, but also because of it’s not hard to figure out lyrics; “I want you to bang my box / there ain't nothing I'm scared to try / I can be on top or if you like it I just lie here.” Mind you, Cyrus brings a perfect amount of twang in, making it her own, sounding ridiculously original as she sweetly says “teach me a lesson pretend we never met / but we can keep just kissing cause you're getting me so wet.” Love everything about this song’s sound and attitude, but how did it not get an explicit rating when other softer sounding tracks did? Is it because there’s no cursing – because that would be hilarious. The psychedelic hippy Laurel Canyon dance rock groove is also part of this track’s energy, bringing together everything I like about both Prince and Fleetwood Mac. After getting hot and bothered to this, it’s time to chill, and amongst all of the lo fi chillout sessions, none are more zen than the aptly titled “Miley Tibetan Bowlzzz”, a cinematic New Age orchestration that is perfect to come down to, leading me to the conclusion that Miley Cyrus & Her Dead Petz may be one of the best soundtracks for recreational drug use out there.

It All Began With ‘Bangerz’: Miley Cyrus’ Real Entry As A Pop Star Gave The Crowds What They Wanted

Written by taylor
/ 6 mins read

The slang based term Bangerz could refer to either the in your face design of this album’s tracks, or the quality of the type of parties which such musical ‘bangerz’ could underscore, or the type of Miley Cyrus body which was in vogue during this 2013 period. A search on EBAY reveals that the store reveals her physicality is still in demand, as the production team even printed a limited run of CDs showing her half naked body on the cover – these rare items going for $199 a pop now – and the vinyl version - for a whopping $289. Related to this body image point, I always marveled at the way that White Middle America acted as if they did not know what twerking was before Cyrus’ MTV performance, after countless examples had already been on display for decades courtesy of curvaceous Americans who may not have all had the ideal fashion-magazine mandated body types, but sure as hell could ‘back that thang up’ when the beat demanded such promiscuity. Whatever your definition, my overall impression of the album’s concept is one of absolute re-invention, for better or worse, where a child star, turning 20 years of age, asserts her sexuality by taking everything ignorantly blissful about American culture, mixing it all up, and spreading it’s patina all over herself, inviting discourse, offending censors and PC crowds, and thrilling audiences who crave such extremes. For Cyrus herself, I don’t think it would be unfair to speculate that above all Bangerz represented a calculated move to distance herself from her teen-idol persona, in order to be taken seriously as an adult Pop star who could come off just as liberated and important as Lady Gaga. Just as Gaga’s 2013 Artpop and Katy Perry’s 2013 Prism boasted elaborate Pop concepts and elaborate tour productions, so too would Cyrus’s if she hoped to not only make her comeback, but to compete at the top.

One Side Of This Coin Contains Hits By Anyone’s Standards

The beginnings are quite humble on Bangerz, starting off with a ballad that I find is of exceptional quality. Miley Cyrus' soft and ethereal vocals haunt me on “Adore You”, as the New Wave romance both shuffles and dubs its instrumental at a languid bedroom pace, utilizing some epically placed chords. “Wrecking Ball” builds the emotions up in a different way, with the familiar slow parts joining epic shouting crescendos that were par the course in 2013, speaking on subject matter that sought to lay waste to the emotional walls both she and her partner built against the threat of rejection. “We Can’t Stop” buzzes in such a curious and cool way, with great video game inspired synths and a really groovin’ beat – somehow rising above some of its underlying formulaic notes thanks to really colorful moments and phrasings. This track in particular announces the ‘new’ sexy Miley Cyrus. Pharrell Williams’ influence is undeniable on “#GETITRIGHT”, while drive doesn’t do as much funky justice yet makes up for it in and extra dose of Synth Pop, exploding all over this buzzing ballad about calling off the relationship for good after realizing there is just no future in it. Cyrus seems to admit that she may share a lot of the relationship woes on the surprising “Maybe You’re Right”, as she lays bare regrets over things said and unsaid, with the track serving as an apology and also a big and motoring beast that hits some Lady Gaga levels of balladry, albeit with Cyrus’ distinctive and charming Country twang slapped on. A schizophrenic Trap EDM ballad is a mostly pleasant experiment on “Someone Else”, thanks to strong vocal belts from Cyrus and a strange brew of multiple genres and Asian melancholic notes amidst heavy artificial processing.

Products Of Their Time Perhaps, Bad Ideas Only Sound Worse In Hindsight

“SMS (Bangerz)” was the big title song to satisfy the unmet dream of a Britney Spears collab, but she is barely perceptible here, and the track feels mostly juvenile, plus not very original, ripping the Salt-N-Pepa Freestyle dance beat that is very imitable to produce, and very hard to build something fresh upon. Perhaps I should admit that I’ve never been in love with how even originators like Salt-N-Pepa handled such hollow and cheap rhythms, yet at the same time, the artist Peaches totally blew me away (way before 2013) with her more artistic take on the staple sounds presented here. I felt nothing for this ‘banger’, and literally except for the part where Miley Cyrus says “fucking bangerz” because the attitude strikes my eardrums right, the rest of her deliveries are full of nasally bratty posturing over a weak throwback eighties style infused with the Party Rock subgenre (LMFAO and Far East Movement) popular at the time, and loathed by myself for all time. Though this track is nothing compared to the terrible sounding mash-up of Country and Electro Swing on “4X4”, which celebrates wild love, rebellious natures and reckless driving told through proudly lower-class slang. More collabs come with Future on “My Darlin”, and while he may be at his most melodic adventurous here, he butchers this cover with his particular auto-tune settings and horrid attempts at vocal acrobatics; “Stand By Me” does not work in this particular digital package, despite the attractive organ chords, and Cyrus’ emotional moments. Big Sean features on “Love Money Party”, a stupid, twangy track that repeats asinine lyrics, delivered out of sync, and over a terrible swirling organ/horn orchestration that sounds like bad Halloween/Circus music. The fuck-everybody twang continues on “Do My Thang”, where she emulates the cadence of Iggy Azalea, with a much more white-girl-from-Tennessee accenting as opposed to an Australian-girl-who-adopts-a-black-rapper-from-Tennessee accent.

Despite My Mixed Verdict, I Would Have To Say This Was One Of The Better Pop Experiences Of A Dismal 2013

I simply could not stand what I felt was one of the worst tracks on the album, a bad idea for an experiment, which endeavored at mixing Synth Pop, Hip Hop, Country, and Moulin Rouge styled sounds together. Cyrus sounds a little out of breath amidst all of the theatrics, yet she at least tries – while featured rapper French Montana has absolutely no excuse for phoning in one of the worst raps I’ve ever heard. Contrast this disappointing track with the equally eclectic, yet much more successful combination of Pharrell Williams, Funk, and Miley Cyrus, on “#GETITRIGHT”, a perfect summery upbeat groove that happens to get everything right while also being my favorite song on the album. Taken as a whole, while I only enjoyed half of its tracks, Bangerz shows just how talented Miley Cyrus is, and while some ideas and features were bad ideas, the ones that worked really showed her penchant for exploratory creative hit–making. It’s one eclectic setlist, no doubt, and probably deserved of its various awards’ nominations.

She Might Call The Album ‘Younger Now’, But Miley Cyrus Is Officially A Very Mature Artist

As of the late 2017 release of Younger Now, Miley Cyrus had established herself as one of the most mercurial Pop stars of her age range, certainly as ambitious as Lady Gaga, if not a little behind in a race that started before Cyrus was old enough to make mature musical decisions. This maturity developed quickly, and while she can be forgiven for the teen friendly Pop of her first several albums, it seems to me that things got halfway serious with the very commercially successful Bangerz, all the way serious with the risky experimentation but much more aesthetically complex Miley Cyrus & Her Dead Petz, and undeniably serious, but in a drastically different way, on the Countrypolitan masterpiece Younger Now. I am a so-so Country fan as I often tell people, but am really passionate about the interesting chords and image conjuring power that neo-traditional versions can sometime possess. Cyrus’ efforts here transcend Pop, yet don’t completely bow down to a strict Country code, and rather, the Country Pop sub genre, if we can start from there as a classification, is turned on its head here through the infusion of Dream Pop, New Wave, Hippy Revivalism, Dance Pop, and Electric Rock. To be so young and to have mastered all these disparate sounds into one cohesive experience is quite a feat, one I am fully appreciating now.

Written by taylor  / Mar 06, 2019

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    12. Artist Info


    Miley Ray Hemsworth (née Cyrus, born Destiny Hope Cyrus; November 23, 1992) is an American singer, songwriter, and actress. After playing minor roles in the television series Doc and the film Big Fish in her childhood, she became a teen idol starring as the character Miley Stewart on the Disney Channel television series Hannah Montana in 2006. Her father, Billy Ray Cyrus, also starred on the series, which aired for four seasons until 2011.
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