Miley Cyrus is unabashed, vulgar and emotional on “Plastic Hearts”

Miley Cyrus is unabashed, vulgar and emotional on “Plastic Hearts”

Miley Cyrus is not known for her modest way of life and she blew up her chastity belt at an early age, but fortunately she doesn’t care much about that sinful reputation.

In a fit of little inspiration she could be called a woman with balls, but that is just as reprehensible a phrase as the standing expression “fine lady” used by some eagerly.

Please hear the appropriate puke noises that spontaneously bubble up in me at such descriptions.

In order not to end up in the club of the 27, the prematurely beautiful death club of Cobain and co., she recently stopped drinking and recorded this new record, on which she shows, perhaps for the first time, what she is really capable of.

It is well known that she can sing: a voice from the depths, sandpaper matured on a barrel of cigarette smoke and pebbles, with which she can handle almost all genres.

She launched “Plastic Hearts”, modern as she is, on her TikTok channel, where she declared herself proud of the punk rock inspired aesthetic. It may be punk rock in a designer dress that is musically as far from 1977 as Trump is from proving the election was in his favor, but it all sounds quite raw and she does not mince words.

Unabashed, vulgar, emotional, straightforward, but sometimes a little girl again: a coming of age that is recognizable.

‘I don’t give a fuck / I don’t believe in love’, she sings on ‘Bad Karma’, a duet with Joan Jett, and that’s the way it is: she doesn’t mess around, but finds her own way, with trial and error and broken knees and hearts and everything in between.

Bloated marriages, relationships with girls, too much booze and snuff: Cyrus knows the ropes and has it all.

“I’m the type that drives a pick-up thru” your mansion “, is the catchy phrase in the fantastic angry opener” WTF Do I Know “, in which she makes her ex-husband much smaller.

Title song “Plastic Hearts” starts as a discard of The Rolling Stones at the time of “Midnight Rambler”, but, like three-quarters of the other songs, has a mean good chorus. And then we forget “Prisoner”, her duet with Dua Lipa: the earwig of the year.

There are more duets on it, for which Cyrus has invited a number of heroes from her childhood: Billy Idol, Joan Jett and Stevie Nicks, a trio that served as an example to her and continues to do so.

She also ventures into covers and she gets away with it completely. Her version of “Heart of Glass” is eerily good and “Zombie” by The Cranberries received compliments from the band.

The fact that she is working on a record with Metallica covers was in line with expectations: it can’t get any worse than that unfortunate record Metallica ever made with Lou Reed, so there is some margin for improvement.

Until then, this “Plastic Hearts” offers more than sufficient quality.

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