There is something very intriguing about the evolution of the glitter child Miley Cyrus, something about growing up in the spotlight has always been intriguing to the American public as if we are all the foster parents of the artist and we must be super radical on how we view every taken action by the young stars. Most have gone completely psycho in the process and some have turned out to be absolutely amazing artists, but one managed to turn out to be both. Low key Miley’s new album is killer, with the help from Wayne Coyne, Ariel Pink, Big Sean, Phantogram and Mike Will Made It, Miley produced a full length album called “Miley Cyrus and her Dead Petz” and its full of psych rock, lo-fi like melodies and a lot of bass and synths.
The lead single “Dooo it” was performed by Miley at the VMA’s this weekend, with a mob of all colors and all sizes fabulous drag queens the song is set to be an energetic gay club anthem like banger and hopefully a radio hit. The song is a little rough on the edges, and not for your average listeners but well worth a listen and follows her mantra of ever-changing style and aesthetic. It’s almost like it can be broken into stages, you get the trap heavy bass, the chanting breakdowns in between shouting “Sing about love, cause love is what you need” and “Yeah I smoke pot, Yeah I smoke weed” with megaphone sounding vocals; it almost seems like she was trying to portrait her inner MIA on this one and it worked.
The full album is available for streaming on Soundcloud for free, and if you just take an hour or two out of your day to experience it, you’ll be captivated by the transformation of this youngster into the psychedelic poster child she is today. Her sound has become something living, always evolving and mimics the likes of Tame Impala and Ariel Pink and but with a natural pop rock attitude. A style present in songs like “Cyrus Skies” and “Milky Milky Milky”
Sarah Barthel from Phantogram makes an appearance for the electro pop fueled track “Slab of Butter” and Big Sean adapts perfectly to the slow Psych R&B vibes of “Tangerine”. Without a doubt the ghostly broken and abandoned vibe of the lo-fi sounding tracks like “Tiger Dreams” and “Evil is but a Shadow” is what really made me a new fan of Cyrus. A commercial giant turned enigmatic artist and voice of our generation, she becomes someone worth representing the weary and odd times we are in. I think it is time we stop ‘Low Key’ liking Miley Cyrus, take our pretentious hats off and take this album as it is, from the artist who took a pill once, the artist who smokes chronically in public and the artist who tripped balls with Wayne Coyne one too many times and since then wrote heart sobbing songs about a blowfish named Pablo or skating with a Gumby shaped David Bowie. The artist that is putting everything on the table expecting no monetary resolution but a real way to express her inner thoughts and lessons learned to the public and specially the young who could really use a brave new soldier willing to represent them, and not the artist who hides behind a label or behind the fear of not being relevant or any longer relatable to the basic bitches who make up 70% of the people who pay for music and still listen to the radio.  Just listen to it and you will understand that some artists are more then a big booty and a few social media feuds.