Miley Cyrus’ experimental pop stays predictable, irritating

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The end of an awards show usually comes rather abruptly. The celebrities go off to their afterparties, and the viewer is left with a television screen that cuts to commercial. The widely talked about musical performances and sometimes questionable acceptance speeches quickly become old news. Award shows use the viewer and leave him with nothing in the end. It’s an emptiness that’s enough to raise the question as to what exactly the viewer just spent his last two to three hours on. On Sunday night’s VMAs, however, the world wasn’t left empty-handed. Host Miley Cyrus, in a time where mega-stars are concerned with their payments, released her new album for free at the end of the show.       

Her fifth studio album named, interestingly enough, Miley Cyrus & Her Dead Petz, is a 23-track and 92-minute endeavor. And an endeavor is truly what it is: leaving behind the marketability of Bangerz, Cyrus ventures far into her experimental style and don’t-give-a-fuck attitude to come up with this all-over-the-place and confusing work of techno psychedelic pop.

The album happens to be co-produced by The Flaming Lips, and features Big Sean and Ariel Pink in some of the songs. While the album is an interesting step for Cyrus as an artist, her focus is still unclear. The majority of the songs are either party tunes, sex beats or vulnerable ballads and most of them deal with themes regarding space and questions of the universe.

Though her clothes and actions can be unpredictable, the music on the album is repetitive. Cyrus’ strong and telling voice has a grated raspy quality that contributes to her “so over it” persona. She beautifully captures a certain sadness through her voice in the album’s slower ballads. “The Floyd Song (Sunrise),” about Cyrus’ dog, Floyd, that had past away, her pain translates powerfully through the song as she longs to be with her loved one again.

Cyrus’ songs seem to have been freely curated by her, for they all seem to represent what is, to her, important. Though the songs do fall all over the place on the album, she constantly curses, talks about past relationships and refers to whether or not she’s high. Some songs were just eye-roll-worthy and annoying. Like with the aptly named title “I’m So Drunk,” leave it to Cyrus to acknowledge the obvious and make a terrible song out of it at the same time. If you don’t have time to sit through Cyrus’ singing, which is a certain acquired taste, then some songs to at least check out are: “Dooo It!,” “Karen Don’t Be Sad,” “The Floyd Song (Sunrise),” “Bang Me Box,” “Lighter” and “Evil is But a Shadow.” Overall, it seems like Cyrus’ album will be embraced by the fans of her unafraid and raw public persona, a persona that has captivated both the media and its consumers.

 

Contact Jeanette Zhukov at [email protected].