Miley Cyrus was on the run for half a lifetime. First she escaped her alter Ego Hannah Montana and the claws of the Disney group. On the demolition bulb, she rode into freedom. But it soon turned out to be a golden cage. Cyrus did not want to be a hit machine, did not correspond to the conventions of existence as a female pop star. So she hit a hook again and picked up a huge album with the Flaming Lips.
So it went on. Her struggle for self -determination became the engine of a very successful career, which lasts almost 20 years old: from BRAT, from Bangerz to “Flowers”. The latter, her greatest hit so far, shot at the top of the charts in half the world and was rewarded with two Grammys. The worthy end of a “era”, as is said today: Cyrus on Top, despite all twin -flower.
The biggest critic is in the head
But the biggest critic is in the head. It is not so easy to escape yourself. Still “Aching to Be Sea, Aching to Become Real”, as it says in the “Prelude” of the new, ninth record, Cyrus plunges into her most ambitious project so far: A pop opera, inspired by Rock-Opas, namely Pink Floyd and its 1979 epic about fascism and alienation, The Wall. Uff. Really now? Fortunately not. An accompanying film as a visual accompaniment is the only parallel to Pink Floyd – namely: “With a Better Wardrobe”.
Welkache has no place on something like: “End of the World” shows the upcoming end of the world, the long nose, the “Golden Burning Sun” warms the heart and soul. Guest musician Brittany Howard from Alabama Shakes, commanded “Walk of Fame” in a tone that is reminiscent of the 90s rave classic, “Born Slippy”. In the title track, a guitar roars like a fog horn with the most tender RNB that it drows the facial skin backwards, as if you were Tom Cruise on the outside of a starting aircraft.
In the end, Miley Cyrus describes the path from heaven to hell as she saw him on a painting by Hieronymus Bosch. Well, the high -end references are annoying a little. Sometimes Cyrus plunges like a culture Vulture in Genres, in which it simply lacks credibility. “Every girl you’ve loved” is an overly petting declaration of love to Ballroom Culture, and the over -the -counter interludes would not have been needed. Cyrus wishes: “Give Me Love”. She doesn’t have to prove anything anymore. The least of all.
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