Review Summary: The proof that a vast knowledge of music's history can have a terrible impact.
So, the 'new Miley country revolution' will not be new in any form. That much is clear. It's been like waiting more for new release of
Shania Twain, Cyrus' resurrection coming in the shape of a young acoustic dive bar diva, who wants to banish modern nasty and dismantle the information superhighway for pulped, leafy brews and an abacus. Progress? Don't be ridiculous.
If we've learnt anything in the last couple of years, it's that the chronic lack of commercial pop vision and short-term dollar signs ringing in the eyes of record company terrorists, armed with a tethered and unsophisticated musical flock, provides guaranteed returns. So, we spin the wheel one more time and exit our time machine with the provocative image of Miley Cyrus in 2013. And you can't fault the influences either. 'Bangerz', her last album, is over after an adrenalised record, tearing-up Mike Will Made It,
Britney Spears, and weaving the twerking moves into a frequently blistering chart attack.
Thus the world received 'Younger Now', a virtually hackneyed, utterly whole collection of warmly tortured, acoustic, timeless pop, with a wholly humble human heart of Cyrus. A prime example of ability shining through without the need for glitz, gimmicks and gossip.
First single "Malibu" screams into shot, feedback sparking from modern adult contemporary signs of
Joni Mitchell, and immediately you're in heaven, if well traversed, territory. Undoubtedly, this is an addictive sound. "Inspired" takes the squalling violin blueprint and faux romantic hooks your brain with decadent disdain, while the marauding "Week Without You" throws blues and dreamy sirens at a wall you just know is pasted with glue. It all follows the same formula, reaching a seething crescendo on the catastropic "Younger Now", which based on banal sentences of singer's laboured experience.
If she's lucky, Cyrus might last long enough to decide what she wants to do - which songs she wants to sing. At the moment it's a sure-fire mix of everygirl pop/ballad, "Thinkin" being a perfect example, that'll be commercially successful - how could it not be after a year of wall to wall saturation coverage - but an artist has to follow her own instincts and Cyrus must al ready be forming those. Let's hope she has the strength and room in her contract to follow them. Oh and please - no more emotionally constipated Beatles covers and stop going mmm, mmm, yeah at the start of everything.
