Midweek Music: Bangerz
I’ve already given you my opinion on Miley’s sense of fashion. And yes, she was once the little girl on Disney’s Hannah Montana, and yes, she’s now walking down stages in pasties and licking hammers in uncomfortable ways. So I think it’s best to put all of that aside to really hone in on her musical endeavors, Bangerz being the latest.
In Bangerz, she proclaims that “I’m a female rebel,” on the track “4×4” (feat. Nelly). In some ways, I completely agree with her. Through her celebrity reputation and her music, she pushes people to challenge what is red carpet appropriate (I know, that’s my last fashion comment, promise), and she attempts to show the word that young woman can be incredibly strong and independent. She says it herself, “This is our house, this is our rules.” But I do wonder if more often than not she’s really just doing what most 20 year old, party-loving, self-exploring woman with an unlimited bank account wish they could pull-off.
In Bangerz, she definitely explores both her party side (think back to Party in the USA), while taking moments to expose her more intimate, vulnerable side. That being said, the lyrics throughout Bangerz are out-of-control unreal. They actually blew my mind.
Again, I think of this opening verse for “4×4”: “I’m a female rebel…. driving so fast about to piss on myself…. I’mma do whatever to get him his bail… Hooked on doughnuts [?]” This is one of my favorite songs on the album, and it’s likely largely credited to Pharrell William’s beat. Maybe she should continue to explore this country, hip-hop, pop thing is something. It’s definitely working in her favor the Miley Cyrus and Mumford & Sons remix, Little Wrecking Ball.
“Wrecking Ball” is the strongest on the album. Once you can get past her much-debated video (then again, is anything Miley produces not up for debate?) and listen to the song, it’s human, strong, and sensory. Her voice is loud, transitioning between a sad, cold lyrics and desperate yelling. She hits all the right nerves, making this song tragically relatable.
But let’s not get too emotional now. She swiftly changes the tone to utterly shallow with “Love Money Party.” Good one, Miley. Worse than this is “FU,” with a poor sound overall. Just don’t even wast your time, “you’re not even worth this rhyme.” Yeah, don’t bother. It’s painful.
On a stronger note, a standout track is the album opener. She unveils Bangerz with a completely unexpected slow-tempered song, “Adore You.” This song, if you don’t listen to the lyrics too much, is beautiful. The beat is tempered, she’s expressive, and her voice sounds fine. This was also a strategic intro for listeners. She comes across as human, instead of the fast-paced cartoon that she more often depicts in interviews and on stage. It’s closer to the feel of “Wrecking Ball,” and as discussed, that song is also fairly successful in it’s own right.
What do you think? Are you just as annoyed by Miley’s attempt to get attention for pushing boundaries and being a strong, but open woman? I want to get your opinion on Bangerz and what it means.