Initially, I expected a surprise album released by the reckless, impulsive 22-year-old Miley Cyrus titled “Miley Cyrus and Her Dead Petz” to be atrocious. But I was pleasantly surprised by a few of the catchy, club-tailored beats, experimental ballads and even a song dedicated to her deceased pet blowfish, Pablow.
While these songs won’t make the next list of insightful classics, they’re definitely worth listening to, or letting loose after a stressful day. Cyrus has transformed from pristine pop (Hannah Montana) to hip hop (Bangerz) to a slower, more psychedelic vibe within only a couple of years, proving that she can own multiple genres and keep her fans anxious to see what stunt she’ll pull next.
“When I made 'Bangerz,' it was as true to me then as this record is now,” Cyrus said in an interview with The New York Times. “It just happened naturally in my head. It’s like anything — styles just change.”
This album feels less like a cry for attention from fans or a desperate attempt to rid her identity as Hannah Montana; it feels more like artistry and full, creative liberty to take this album wherever she pleases. Cyrus definitely delivered a smorgasbord of trippy, beat-heavy tunes and desperate ballads.
Songs like “Dooo it!,” in my opinion, mirror Cyrus’ scattered mind where she just word-vomits out anything that comes to her without really editing it or thinking about what she’s saying in the process. “Why there is a sun? And how do birds fly? And why there is a moon way up in the sky? Why there is trees? (Do it).”
In case you were wondering, she still doesn’t "give a f---" as she states in “Dooo it!” (ft. heavy auto-tune). Ravers at EDM dance clubs and Columbia students in downtown Five Points will soon chant this song in unison — its slow, disco vibe is transcendent.
Songs that seem out of place include: "Karen Don’t Be Sad," "Something About Space Dude" and "Sunrise," but with Cyrus, does out of place even exist? “Karen Don’t Be Sad” is a sappy, tired tune that you could hear at a karaoke bar where any random person could say: “I wrote this a couple minutes ago, what do you guys think?”
“The Floyd Song (Sunrise)” is desperately sad. She clings onto every word and layers multiple beats while this trippy tune fades out.
Soft, acoustic guitar matched with passionate lyrics compose “Something About Space Dude." It almost feels like a dream sequence where Cyrus’ longing creates a hole in your own heart for something you didn’t even know you were missing.
“BB Talk” translates as almost a diary where she vents about her life in a conversational manner, and you feel as if she’s not the distant wack job who twerks and incessantly Instagrams about pizza. She talks about relatable relationship situations, emojis and calls herself awkward. Maybe for a brief couple of minutes, you’re friends with Miley Cyrus as she stumbles through this strange '80s pop ballad.
A song with so much potential, “Fweaky” — one where you could really be feeling yourself — is also one you want so badly to build and go somewhere but, unfortunately, it just remains stagnate and monotone.
"Bang Me Box," funky and experimental, is one of the most coherent songs. Her voice owns the Miley-esque, mellow jam and her burning desire definitely shines through in the sensual, slow beats.
Just as the album begins to get repetitive, you can hear the chorus of “Milky Milky Milk” behind the crazy background beat and her electronic, outer space synthesizers.
This album is way too long, which is either self-indulgent or artistic, depending how you look at it. Either way, Cyrus has transformed into a somewhat respectable artist. I think we’re halfway there.