[dropcap size=big]U[/dropcap]npredictability is Miley’s greatest asset. Following her public shaming of the hip-hop genre, I distanced myself from her. While I do enjoy her biggest hits, overall I’m indifferent towards her music. That is, excluding her 2015 independent album. Yes, Miley Cyrus and Her Dead Petz is the worst album I’ve ever heard. It is the one project I am comfortable giving a big, fat zero. Although I have done my best to blotch that disaster from my memory, it lingers with each new Cyrus release. During my first run-through of this new EP, I actually wasn’t mad, though it didn’t satisfy me either. Miley is an enigma, and will likely continue to be. Her personality supersedes the impact of her music, thus giving her free rein to make any kind of zany tunes she pleases. Here she regresses from her previous country-style album Younger Now.
Though at least this is not nearly as bad as Dead Petz. That is the sad reality surrounding Miley’s current music. She is yet to settle into a particular sound. However, that’s not always a bad thing. Few artists wish for genre-specific labels attached to their name. And if Miley is trying to rebel against that notion, then she is certainly doing a phenomenal job at it. Conversely, the utterly undercooked lyrics heard throughout SHE IS COMING prove Miley not only doesn’t care what others think of her, she hardly cares about her own music. At times, especially on the first two tracks, Miley comes off brave and almost thoughtful. “Mother’s Daughter” is easily my favorite of the bunch. “Don’t fuck with my freedom / I came up to get me some / I’m nasty, I’m evil / (Must be somethin’ in the water, or that I’m my mother’s daughter)”.
Honestly, I can get down with that sentiment. Even though the beat behind her is a little run-of-the-mill, Miley opens this project surprisingly well. Nevertheless, as with nearly every Cyrus effort, it doesn’t take long for her progress to derail. In spite of its catchy tune, “Unholy” ended up leaving a scowl on my face. As I mentioned earlier, she bashed hip-hop for its misogynistic tendencies and drug-abuse glorification. Yet here Miley returns to a subtle trap sound and reiterates her love for drugs, exposing her as bit of a hypocrite. It’s very hard for me to respect Miley Cyrus as an artist when she blatantly milks trends for profit. The third track “Drugs.Rule.Everything.Around.Me” starts off kinda fire, which caught me off-guard. However, it goes south faster than two groupies on a tour bus. When Ghostface Killah (yeah, *that* Ghostface Killah) interjects the track, it instantly shits the bed.
Now, if you know me, you know how much I love Tony Stark. But goddamn, this collaboration is atrocious. His flow throws a giant monkey wrench into the song and ruins the vibe completely. I hate to type that; I really, really do. Fax are fax nonetheless. Essentially, for every solid or remotely positive piece of music on SHE IS COMING, Miley finds a way to make it cringe-worthy, snooze-worthy, or over-the-top. The best example of this is the flagrant song “Cattitude,” featuring RuPaul. Pardon my French, but Holy Fucking Shit — “Cattitude” is the most ridiculous mainstream song of the decade. RuPaul, though unapologetically vulgar, snaps a little bit. Miley, on the other hand, adds hyper-bland lyrics to an elementary rap flow that I’m sure a toddler could best. At least the beat isn’t half-bad. Even a touching closing track wasn’t enough to save SHE IS COMING from train-wreck status.
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