Although he has been making records for 16 years, Miley Cyrus is only 30all very intense, for sure, given his run since the days as pubescent hannah montana. That character implied a duality, a pop star by night and a ‘random’ student by day, premonitory for the singer, who has had a hard time establishing her own voice as an artist and being, definitely, Miley Cyrus.
but they are already seven albums to his name (eight counting ‘Hannah Montana 2: meet Miley Cyrus’, 2007), and arrives ‘Endless summer vacation’ to show her in an unprecedented stage of maturity, licking her lips with her broken and serene voicesporting scars and reveling in a mix of guitars and synth sounds a little old fashioned. And lighting up a repertoire that, even with its ups and downs, slides a few imperative cards.
Dancing alone
The first, ‘Flowers’released in January as a single, her greatest achievement as an author (or co-author) to date, which on the back of an enveloping tune proposes a hymn to individual independence and self-love. “I can buy the flowers myself / Write my name in the sand & rdquor ;, she sings in ‘spite mode’. “I can take myself to dance / and hold my hand / Yes, I can love myself better than you did & rdquor ;. Probable soundtrack to the disaster of her marriage to Australian actor Liam Hemsworth.
From there, Cyrus gets us into a songbook more introspective than partyingwith a lot of vaporous half time and in which you can show off that confessional, torn, more typical of a country troubadour (the music of her family roots) than of a pop star. Vivid ballads like ‘Jaded’ (co-written and produced by Greg Kurstin, he of, among other achievements, Adele’s ‘Hello’), the penetrating dynamics of ‘Rose colored lenses’ and the acoustic-denim vestiges of ‘Thousand miles’ (duet with Brandi Carlile) give birth to the first section of the album that Miley Cyrus associates, she has said, with the morning light and the expectations of the new day.
glamor and sleaze
Through ‘Handstand’, dreamy and bathed in electronics, we opted for the nocturnal stripes, a ‘PM’ plot that, according to Cyrus, is the bearer of murkier sensations, with as much sleaze as glamor. The sleepwalking energy of Los Angeles, the city to which he dedicates the albumruns wild in the ‘up-tempo’ disco ‘River’ and guides us towards a horizon of late-night neons in ‘Violet chemistry’ and a restless ‘tempo’ in ‘Muddy feet’, here with another guest, sia.
Closing, ‘Wonder Woman’, with voice, piano and an open heart, reaffirms a convincing Miley Cyrus, praising “wonder woman & rdquor;, who “knows what she likes & rdquor; and “you never know if she is broken & rdquor ;. Miley, on the watchtower of her days, raving survivor and, as we see in the metaphorical album cover, a muscular trapeze artist (with stiletto heels). Jordi Bianciotto
Other albums of the week
The third LP by this North Carolina septet favorite of Alex Turner and Jack White should grant its authors the status of head band among fans of classic rock. No need for production gimmicks, The Nude Party turn that steamy mix of country, blues, folk and rock and roll who shook the music scene at the end of the 60s and dare to cover Dr John without losing footing. Melodies and ‘groove’. round disc. Rafael Tapounet
This young veteran from Philadelphia, exToy Soldiers, knows how to sharpen the venerable materials of indie rock and make your discs unpredictable artifacts. His invectives against the evils of the modern era, in an intimate or sociopolitical key, find lanes of expression both in a rambunctious dance-punk as in the thick garage guitar, through the melodious turn and floating bitter ballads. Conjuring global anguish with purity of spirit. J.B.
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