Miley Cyrus has done very well to find her own sound in the nostalgia bargain box that Lipa, The Weeknd, Sam Smith and more have bought from in 2020. The result on ‘Prisoner’ is a sultry success of two worlds colliding. The ‘Party in the U.S.A.’ singer took that same time-travel voyage for Plastic Hearts but where Lipa went for the synths, Cyrus went for guitars. The British star also journeyed back to the 80s for her multi-Grammy nominated sophomore record Future Nostalgia. Roping in Dua Lipa on ‘Prisoner’ was another smart move. ‘Night Crawling’ is a thunderous effort that will find its way onto future Halloween playlists and ‘Bad Karma’ sees a genius employment of Cyrus’ country twang that packs the punch that 2017’s Younger Now didn’t. Those tracks are two of the best that Plastic Hearts has to offer. The kitsch moments of the Bangerz era are now nowhere to be seen and features such as RuPaul’s bawdy verse on last year’s SHE IS COMING are switched for Billy Idol on ‘Night Crawling’ and Joan Jett for ‘Bad Karma’. There had always been a feeling that the former Disney star was rebelling for rebelling’s sake. The record’s pulsing 15 tracks are inspired by 80s rock and rethought with such a style that could only be Miley Cyrus. On Plastic Hearts, however, there’s a sense that Miley has achieved that balancing act, arriving at a destination she perhaps didn’t even know she was searching for. Equally controversial as talented, rarely has the star been able to walk the tightrope between the two. Therein lies the dichotomy of Miley Cyrus. Most recently, the pop star shut down Twitter with a jaw-dropping cover of The Cranberries’ ‘Zombie’. In 2012 it was a backyard session of ‘Jolene’, in 2017 it was her tear-jerking appearance at One Love Manchester and in 2019 an emphatic Glastonbury set. Get backstage sneak peeks, exclusive content and access to Clash Live events and a true view into our world as the fun and games unfold.A post shared by Miley Cyrus other times over the past decade, Cyrus has found herself as a trending topic through less audacious acts. Follow Clash Magazine as we skip merrily between clubs, concerts, interviews and photo shoots. Join us on the ad-free creative social network Vero, as we get under the skin of global cultural happenings. In a year shrouded by isolation and starved of social interaction, where individuals have been forced to discover the unexpected joy of solitude, “Plastic hearts” might just be the soundtrack to through this journey as you embark on your very own Rocky-esque beast mode montage of shameless self-empowerment. The multi-faceted artist finishes with the Stevie Nicks ‘Edge Of Seventeen’ and Miley ‘Midnight Sky’ mashup, ‘Edge of Midnight’, before leaving fans with the bitingly ferocious live performances of Blondie’s ‘Heart Of Glass’ and Cranberries’ ‘Zombie’.Ĭyrus conveys a jaunting and heartening honesty throughout her lyrics as she reflects on love, guilt, addiction and the business of breaking hearts. Cyrus delicately nods to life in the limelight and the constant criticism for her mere existence as a woman in music on ‘Golden G String’ before going out with a bang in the final three tracks (of the digital edition, at least). ‘Never Be Me’ is a tantalising track incorporating a play on the lyrics of Johnny Cash’s Ring of Fire. Miley bites back with the rolling country thunder of ‘Bad Karma’ as she channels some defiant rock 'n' roll with none other than one of the genre’s leading ladies, Joan Jett. Cyrus’ struggle with addiction rears its head on ‘Hate Me’, a heart-breaking account of the singer pondering the possibility of her own demise. Launching towards electro pop number ‘Midnight Sky’, Miley breaks out of a post-relationship rut and comes into her own before landing in a saddening slow dance with ‘High’.
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