For more than a decade, every new album of Miley Cyrus It is read as an open chapter in the history of an artist who constantly remakes in the eyes of the world. Since it was symbolically stripped of the wig of Hannah Montana, There is an attempt in it for avoiding repetition and, at the same time, for reconciling with the contradiction that inhabits it. In this way, each launch raises the same concern: who is Miley now? The answer, as always, is not definitive. But it is there, in that search without guarantees, where the true heart of his art resides.
A pop opera inspired by The Wall of Pink Floydwith production of Shawn Everettcameos of Brittany Howard and Naomi Campbelland an intro that seems out of the end of Bojack Horseman. That presents in Subject Beautifulhis ninth studio album. The former “Disney girl” explores her identity again, this time from a more serene place. Far from the impulse for breaking with everything, as in its most provocative stages, the composer refines her language as a lyricist and bets on a conceptual work that reflects a clearer look on itself.
The project is amplified with a homonymous music film, co -directed by the artist herself with Brendan Walter, Jacob Bixenman and Cosmatical pains. The film will premiere on June 6 at the Tribeca Festival, and will have a visual deployment fed by the work of the director of photography Benoît must. In Cyrus’s words, in his last interview with Zane Loweseeks to “tell history from music”, without the need for a conventional plot. “A character is not necessary. I am the character.”
Beyond its visual dimension, it is strong for the musical. Miley explores with confidence different styles. An instrumental prelude opens the project, marking the introspective atmosphere that permeates the entire work. The titular song stands out for its neo-soul with distortions of Jonathan Radowhile “End of the World”, first single, recovers the energy of the novelty pop-rock with a sticky chorus, betting on a rather commercial sound.
The interludes connect the songs with nuances ranging from country to psychedelic, providing coherence and order. “Golden Burning Sun” loses some freshness regarding its demo, while “Walk of Fame”, with Howard, introduces a Eurodance six minutes. The most innovative moment comes with “Reborn”, which mixes Gregorian songs, electronics and alternative rock. The album closes with “Give Me Love”, a soft and reflective farewell, less memorable than what precedes it.
Fashion is a fundamental pillar within this project. The cover of the album, captured by the photographer Glen Luchfordpresents Cyrus wearing a suit Thierry Mugler of 1997, an emblematic piece among several jewels of the costumes that give life to the film that accompanies the launch. Throughout the film, the viewer meets original creations of legends such as Alexander McQueen, Jean Paul Gaultier and Alaïain addition to a generous assignment of archives of the Mugler House, as revealed in the official presentation of the project.
In its conceptual essence, it is part of the tradition of albums seeking to free themselves from the tyranny of the commercial single. As is Lemonade of Beyoncé either Melodrama of Lordethis album is presented as a forceful artistic statement, a conscious response to a career crossed by the media overexposure and constant judgment of the public. He no longer seeks to scandalize. In Subject Beautiful She is presented as a conscious author of her history and her language.
