Originally featured here on tmrw magazine.
summertime 2013 – the season that i physically couldn’t stop listening to miley cyrus’ track ‘we can’t stop’.
what it was about the track, i don’t know. but what i do know is i made an entire club chant its title in magaluf until the dj was forced (by me and my club m8s) to play it. and no, i wasn’t embarrassed, cause ‘remember only god can judge us/ forget the haters cause somebody loves ya’. or ‘it’s our party we can do what we want’ – so many applicable lyrics.
it’s definitely fair to say that miley is a transitional artist; an experimental, a i’ll-do-whatever-the-fuck-i-want artist. going from her tween country sound where she produced tracks like ‘the climb’ and lived a double life as hannah montana to the suddenly angsty teen who sung about ‘7 things i hate about you’ to a jonas brother to blatantly referencing class as in songs and in reality and not giving a single shit – is there anything she could do that would actually shock us anymore?
well, that’s where you’re in for a treat. miley has just released new track ‘malibu’ that will appear on her upcoming album. the latest record has taken yet another chameleonic direction, seeing miley reverting back to her country roots.
as she graces the cover of billboard, it’s all about hushed hues, a cutesy persona and a loud reference to a new, muted miley – far from the latex wearing, finger gesturing, ‘bad girl’ she was a few years prior. she’s dropped the ‘ttude and, as her father billy ray cyrus said, “this is miley leaning into her roots more than i’ve ever heard”.
it seemed that previously miley was fixated on causing controversy, i mean she ‘twerked’ on robin thicke for fuck sake. surely you don’t do that unless you’re trying to prove some kind of point. what the point is, i still don’t know. was she just trying to fully smash, shatter and bury her disney star persona? was that the person she genuinely wanted to be? or was it a cry for help? i definitely thought the latter at the time, not gonna lie.
the infamous miley tongue has become something of a generational trait. there’s a lack of photos of myself inebriated where i haven’t decided to stick my tongue as far out of my mouth as poss à la miley (note to self: don’t do it, it’s not sexy). or is it? i mean, we started to take notice of miley in a different way after that vma performance, so she did something right.
on the featured pic on billboard miley is akin with pigtails, daisy dukes and cowgirl boots and sat upon a toy horse – if she was trying to promote a change of direction in her career harder she’d throw a hay-bale at your face and or start lassoing a heard of cows. she said to billboard of her style change: “now it’s like, ‘okay, what’s the most unexpected thing i can do?’ dress like this. be normal.” that kinda makes it sound like some kind of marketing ploy, but i think we should look past it ‘cause she also looks happier and healthier than ever.
she said about her upcoming record to billboard, “this record [i’m working on] is super yin and yang. i’m in balance right now.” her recognisable raspy voice is backed by a subtlety-encouraging beat that isn’t even a slight echo of her most two previous albums. she sings: “we are like the waves that flow back and forth/ sometimes i feel like i’m drowning/ and you’re there to save me/ and i want to thank you with all of my heart/ it’s a brand new start”. the lyrics are in reference to getting back with her aussie bae, liam hemsworth.
the sugary sweet theme the latest miley is supporting carries through to the new video for ‘malibu’ too. miley prances along the beach wearing loose white hippy-pants. the word ‘breezy’ comes to mind and not just because her locks are flailing behind her in the wind. within three listens, i’m hooked. miley is obviously just a musical chameleon who could produce anything and i’d luv it.