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Upon learning about Miley Cyrus’ vision for her ninth studio album, inspired loosely by Pink Floyd’s The Wall, I felt an immediate thrill at the concept. Something Beautiful is a bold exploration of experimental music, accompanied by a comprehensive visual experience that coincides with the album’s release. While I initially anticipated a robust rock sound similar to that of Miley Cyrus’ impressive Plastic Hearts, this latest album navigates more toward pop, with occasional bursts of rock energy. Produced in collaboration with Shawn Everett (known for his work with Kacey Musgraves and The Killers), the album boasts a polished sound that maintains its allure throughout, inviting listeners to dive deeper on multiple listens. Cyrus delivers her vocals with outstanding finesse on key tracks like “End of the World,” although she ultimately doesn’t achieve the classic status she aspires to.
The album opens with a spoken word piece titled “Prelude,” which establishes a haunting atmosphere as Miley Cyrus recites poetry about the ephemeral nature of beauty in life. It’s essentially a poetic reminder that beauty may be fleeting, yet it’s a worthy pursuit if you know where to find it. The jazzy title track that follows showcases Cyrus’s vocal talent right before it takes a sharp turn with powerful electric guitar chords, hinting at her Pink Floyd inspirations. After a brief instrumental section, the track returns to its pop-infused jazz essence as Cyrus continues to mesmerize.
Next comes the standout track “End of the World,” the album’s lead single filled with subtle classic rock references, including lyrics like, “Let’s spend the dollars you’ve been savin’ on a Mercedes-Benz / And throw a party like McCartney with some help from our friends / Yeah, let’s go down to Malibu and watch the sun fade out once more / Show me how you’d hold me if tomorrow was comin’ for sure.” This song encapsulates pure pop joy and successfully achieves its lofty ambitions in a shimmering chorus that deserves significant radio play.
Cyrus seamlessly transitions to “More To Lose,” a heartfelt track that feels like a natural continuation from her standalone single “Used To Be Young.” In one verse, she ventures into creative lyricism, expressing, “The TV’s on but I don’t know / My tears are streaming like our favorite show tonight / Memories fade like denim jeans / I try to chase when you’re running through my mind / ‘Cause, god, you’re looking like,” while remaining grounded in her quest for true love. The first interlude appears unexpectedly, disrupting the early momentum, as the dance track doesn’t resonate much with me. Fortunately, she quickly regains her footing with the catchy groove of “Easy Lover,” reminiscent of Stevie Wonder’s classic “Part-Time Lover,” yielding delightful results. The second interlude follows this track and again feels somewhat out of place in the album’s flow.
“Golden Burning Son” opens the latter half of the album on a high note as Cyrus captivates with the chorus, “You’re the only one / Under the golden burning sun / Can I have you if I never let you down? / Surrender,” reflecting on her current relationship. “Walk of Fame” features a standout appearance by Brittany Howard from Alabama Shakes, driving the track forward with vibrant vocals, resembling a Lady Gaga hit while meeting all pop expectations. “Pretend You’re God” somewhat gets lost amid ballad-style lyrics expressing, “In my dreams I see your face / It hits me like a thousand trains / I don’t wanna wake up if you’re gone / Do you still love me? I gotta know / Never mind, just keep it quiet if you don’t / Do you still love me? I gotta know.” Her relatable quest for love humanizes her amidst the glitz.
“Every Girl You’ve Ever Loved” features a duet with Naomi Campbell as both vocalists exchange verses, vying for dominance. I find Cyrus delivering strong performances throughout the track, commanding attention with her powerful presence. “Reborn” stumbles slightly at the outset with its near-spoken delivery before transitioning into a danceable groove in the song’s midsection. While it doesn’t quite resonate with me in the closing moments of Something Beautiful, “Give Me Love” serves as a more fitting conclusion to Miley Cyrus’ ninth chapter.
Miley Cyrus aimed high with Something Beautiful, embodying the saying, “Aim for the moon, so even if you miss, you’ll end up in the stars.” She succeeds more than she falters, and this ambitious foray into experimental pop is a commendable effort that should be experienced as a cohesive artistic work, rather than merely a collection of songs.
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