“Don’t worry bout me go and get yourself a hobby.”
Miley Cyrus just dropped her new EP, SHE IS COMING, and in my opinion it’s a welcome change of pace. After Bangerz, the pop star had trouble finding her footing – at least, in the eyes of the general public. She went weird with Dead Petz, and wholesome on Younger Now, creating bodies of works that don’t seem to gel together from a birds’ eye view.
People seem upset at Miley for switching things up all the time. Miley’s perfectly capable of speaking for herself, but I’m also here to help set the record straight: Miley shouldn’t have to release albums that are interconnected.
I think she left a bad taste in peoples’ mouths when she **** on some of her past stuff (like the “Wrecking Ball” video), or the cultural appropriation in Bangerz, but because we live in outrage culture it’s kinda fun to band together in the comments section on Instagram and talk trash, and boy people did. I’m not about to film a LEAVE MILEY ALONE! video, but artists should be applauded for wanting to evolve (or devolve) their sound, not be punished for it.
Miley’s new six-track EP is vibrantly sassy. On “Cattitude,” featuring RuPaul, the two slip on a latex onesie and brag about their *******. It’s dreadfully camp and the beat goes HARD. She performed it live recently, but it doesn’t hold a candle to the studio version. Did I want to visualize RuPaul hooking up? Nah, but it’s that visual. When the gays hit the club and “Cattitude” comes on… expect blackouts.
“Mother’s Daughter” is the album highlight for me. On it, Miley sings over a stuttering beat as she boasts about being a badass – and she got it from her mama. “Don’t f–k with my freedom / I came up to get me some / I’m nasty I’m evil / Must be something in the water or that I’m my mother’s daughter.” The chorus is infectious, and each verse is unapologetic. This is Miley the pop star on full display, and I’ve missed it.
A couple of the tracks don’t do it for me, namely “D.R.E.A.M.” featuring Ghostface Killah. It stands for “Drugs Rule Everything Around Me,” her own spin on Wu-Tang classic “C.R.E.A.M..” Miley singing about drugs is nothing new, but I feel like aside from the MJ, she doesn’t actually (fortunately) mess with em.’ It comes off as inauthentic, a facet of her career that follows her. However, the mid-tempo’s production shines bright, but Ghostface Killah’s verse on it is God awful. The Swae Lee assisted song, “Party Up The Street” is also a let down. She tapped Mike WiLL Made-It for the beat, which takes an interesting turn when the sweeping strings take center stage and outshine Miss Miley.
The drugs theme continues into “Unholy,” though the track overall is far more enjoyable. Miley sings about getting “a little drunk” and “high as hell,” but she doesn’t feel bad about it because “so is everyone else.” We love a disillusioned Miley?
I won’t end things on a sour note, though. “The Most” is a warm, romantic tune about enduring love. “Why do I hurt you so? Is it cause you love me the most,” she croons. Miley’s vocals are less restrained here than on any other song off SHE IS COMING. Her smoky, Tennessee tone is vulnerable, but powerful.
Miley gets a lot of flack for a lack of cohesiveness in her music, but SHE IS COMING is a breath of fresh air. Miley didn’t aim to create a body of work that would light the radio up, and that’s what’s beautiful about it. She made the kind of music she wants to, like she always has. Miley told us she was coming… so make way.