Release Date: Sep 29, 2017
Record label: RCA
Genre(s): Pop, Vocal, Pop/Rock
She might still be only 24, but Miley Cyrus’s career has already come full circle. The child of country royalty – her father is Billy Ray Cyrus of ‘Achy Breaky Heart’ fame, her godmother Dolly Parton and Waylon Jennings showed her how to play guitar – she broke out over a decade ago as tween idol Hannah Montana. After becoming a global sensation she began releasing records under her own name, pivoting from straight-up pop to naked wrecking-ball swinging and experimental psychedelic weed rock faster than it took Taylor Swift to start morphing into Lorde.
There's always been something contentious about the borders of country music, borders that Shania Twain and Miley Cyrus have spent their very different careers exploring. In the Nineties "is this country or is it disco" culture wars, Shania scandalized Nashville propriety with her glam-rock flash and mirror-ball glitz, just a few years after Miley's dad Billy Ray Cyrus came out of nowhere with the ass-wiggling dance-craze blockbuster "Achy Breaky Heart. " Miley, of course, grew up playing Hannah Montana on the Disney Channel before turning into America's favorite sex-drugs-and-twerking shock-pop diva.
For the better part of the last decade, Miley Cyrus has been courting controversy in the most tiresome and banal of ways. Her reinventions have arrived like clockwork, from bewigged child star to tongue-wagging party girl to pansexual post-hippie. Now, with Younger Now, the Artist Formerly Known as Hannah Montana has adopted a persona that.
Y ou almost feel sorry for pop divas. Their every move is sifted for significance by fans, haters and professional cultural scrutineers alike. Every gesture is loaded; every stylistic nuance is grist to some commentary, a process at whose sharp end Miley Cyrus finds herself, once again. Her latest album, Younger Now, finds the child star turned pop provocateur pivoting hard after two radically different long-form releases, 2013.
I have a thoroughly uncomplicated relationship with Miley Cyrus' music--I don't know much about it and what I do know, I tend to not like. However, when you throw in Miley Cyrus and Her Dead Petz, things start to get a little more complicated. I'll come out and say it, I loved the Dead Petz. The album was a dumpster fire of half-baked ideas; an apparent thrown-together "budget" album where Miley could do whatever she pleased.
Miley Cyrus has long been seeking a musical identity. Just before the release of her popsplosion album Bangerz, she seemed destined to go back into the family business. Her string of 2012 covers.
From the hyperpolarizing emergence of the Trump Administration to social justice activists battling actual Nazis in the streets, the American zeitgeist has taken a sharp turn towards the serious over the last couple of years. That shift had the secondary effect of making the frivolities of the last decade age even faster than they normally would; to put it another way, it feels like way longer than four years since Miley Cyrus.
It is testament to Miley Cyrus’ sheer force of character that she has entered into this latest act in a recent career defined by shape-shifting with apparent seamlessness. As much as she is by no stretch of the imagination the first child star to adopt a deliberately risqué persona in order to put clear blue water between her adult self and her squeaky-clean past, Cyrus did it with an approach that was at best scattergun and at worst, gratuitous in its scandal-making - twerking on twice-her-age rape culture apologist Robin Thicke at the MTV VMAs, appearing nude in the video for ‘Wrecking Ball’ in a move she’s already voiced regret over, and developing a curious propensity for tongue protraction that Gene Simmons would be proud of..
Y ounger Now, the sixth studio release from Miley Cyrus, is a remarkably joyless affair for a country-pop record released in 2017. To be sure and fair, hints of heats haunt the steamrolled seams: past lives and loves swamping together on the title track, some charcoal smoke from the extinguished bad mood fire of .
There’s no way to be as clumsy a celebrity as Miley Cyrus—to unknowingly become the purest example of white privilege in a time where the concept was finally being reckoned with on a public scale, to host an awards show only to be called out for that privilege, to release a 23-song album so insanely stoned that your label wouldn’t even really call it an album, to roll back that persona that was the manifestation of white privilege but in a way that showed you learned nothing—without at least being incredibly honest with the public, so honest that it bleeds right into naïveté. .
In January 2011, Miley Cyrus and Demi Lovato both finished their stints on the successful Disney Channel shows that propelled them to stardom. Since then the two have focused on their singing careers while making time for the occasional return to acting. And on Friday each released her sixth studio album. If the women have been following parallel tracks, though, they.
After keeping the world waiting for over 11 years, Stacey Ferguson, known to the world as Fergie, at last released her second solo album, a visual album called Double Dutchess. Admit it to yourself or not, The Dutchess slapped; even Vince Staples agrees, and he’s right about everything. The Dutchess, which combined elements of pop, hip-hop, rock, and even a pinch of Motown, turned Fergie into a bonafide solo act.