![]() ![]() ![]() The fun is multiplied with the inclusion of a mashup of the two songs, “Edge of Midnight”, as well as live covers of Blondie’s “Heart of Glass” and The Cranberries’ “Zombie”. Album standout “Midnight Sky” remixes Stevie Nicks’ “Edge of Seventeen” from 1981’s Bella Donna, yet as Cyrus discusses a post-breakup period of wildness and renewed worldview, the song rises above imitation. Yet, the strongest moments come when Cyrus explicitly interpolates her influences and infuses them with her own energy. That’s another aspect Cyrus shares with the hair-metal era: she leans into the excess and absurdity of her persona while demonstrating a self-aware, self-deprecating sense of humor about both her personal relationships and public image, as on album closer “Golden G String”.Ĭyrus is co-writer on all 12 tracks, which include collaborations with Miike Snow’s Andrew Wyatt, Ryan Tedder, Andrew Wotman (Watt), and Alexandra Tamposi. But on Plastic Hearts, Cyrus sounds as though she’s not just trying on a sound and sentiment, but more fully inhabiting it for perhaps the first time.Įditor's Pick Miley Cyrus and Stevie Nicks Team Up on “Edge of Midnight”: StreamĪt first, the country ballad “High”, with its steel guitars, chain-shaking rhythm, and swelling harmonies, seems like a deviation - but even Axl Rose was at his most powerful trilling over sweet acoustic guitars. She’s been unapologetic about making both albums that serve the hungers of the “industry” and others that satisfy her artistic interests, even when she has been appropriately critiqued for crass cultural appropriation. The Good: Since her breakout role as Disney’s Hannah Montana, a teen leading a double life as a pop star, Cyrus has relished her role as a chameleonic entertainer. Still, this might be Cyrus’ most successful pastiche yet. Even without her current incarnation’s spunky sneer and platinum shag, Cyrus still has teeth, though this algorithmic “rock” can filter out her bite at times. Now 28 years old, Cyrus leans fully into these influences, enlisting heroes like Stevie Nicks to have a blast with her while ripping themselves off. Over six uneven albums, Cyrus has dabbled across pop genres, but she’s always held a penchant for the era and attitude of mainstream glam, new wave, and hair rock, dropping covers of Joan Jett and Blondie in live sets and covering Poison’s “Every Rose Has Its Thorn” as early as 2010’s Can’t Be Tamed. The Lowdown: For her post-divorce album, Plastic Hearts, Miley Cyrus deploys big synth energy in full ’80s-rawk drag. ![]()
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