What with Miley’s drastic abandonment of teen idol-dom, not to mention the one-two KO of her tumblr-happy, nudey, twerky videos for “We Can’t Stop” and “Wrecking Ball”, it seems very few of us are even considering that Bangerz could possibly be any good. But there's something about the personal and shallow nature of the hype surrounding Miley's coming-of-age record that suggests the real surprise of her comeback could lie in the actual music.
Leaving my judgement and preconception hats on the shelf, I sat down to listen to the iTunes stream of Bangerz. My findings did indeed surprise me, but perhaps not as you might think.
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“Adore You”
No one could’ve expected this. It is a frankly genius move to open Bangerz with "Adore You". It is far and away the album’s most tender and surprisingly subdued track - a perfectly formed and convincingly delivered ballad, certainly better than anything Demi Lovato’s ever done. Its sheer critic-silencing beauty leaves you totally open to anything that could possibly follow it. Which is conveniently and ironically (and probably purposely)…
“We Can't Stop”
The ultimate grower of the year, slying gaining the repeat plays it needs with the meme-come-to-life video, couple of instantly infamous druggy double-entendres, and by now it's gained it's status as one of the most brilliantly provocative yet laid-back pop tunes of the year. For the little effort the track seems to put in, it somehow manages to deliver something new every time.
“Bangerz” (feat. Britney Spears)
A feisty, very old-school-Britney number, which makes sense considering the pop princess herself makes an appearance. The prominence of relatively unknown producer Mike-Will-Made-It, here and elsewhere on the record, is another clever choice, giving a musically credible edge to Bangerz. Oh, and the title track provides the third almost-subtle drug reference on the album, with “You know I’m on that Miaow". The track doesn’t need it, but it’s cheekily thrown in anyway.
"4x4" (feat. Nelly)
The country stomp should by rights be unbearable, but Miley, having already seemingly pulled out every stop already so far, pulls it off, with her voice revealing its natural country gal twang. The track would be better without Flo-Rida’s dishonorary older brother Nelly, but he seems timid next to the ultra confident Miley. When Nelly’s suddenly bearable, you know something’s going very right.
"My Darlin'"
Although this sub-Wrecking Ball power ballad is the least impressive track so far, it shows off Miley's not unimpressive silky pop voice when she doesn't bounce her ass fat up against some poor awkward soul.
"Wrecking Ball"
The most grandiose track by far, clearly an obvious choice for a single. But without the video (or even with it - for those of us not looking to complain about nudity) the song is like the climax of a West End show with a super-pop production sheen.
"Love Money Party" (feat. Big Sean)
A low-key hip-pop party anthem, and somewhat filler, but Big Sean's playful and relaxed flow suits the album's house party feel.
#GETITRIGHT
Taking a production leaf out of Justin Timberlake's book of modern funk, this is another laid back number. Punctuated once again by another 'say-whaaaaat' lyric, as she rolls "I feel like I've got no panties on" off her tongue, just casually. It's the second track of a slight mid-album dip, but this dip would be a highlight on Selena Gomez's record.
Drive
A surprisingly dated dubstep throb is soon redeemed by a big ol' power ballad beat and a gorgeously understated "you can drop your keys off in the morning" chorus refrain. Like "Wrecking Ball"'s more in-control older sister, but no less emotional because of this.
"FU" (feat. French Montana)
By this point you realise that Bangerz-Miley doesn’t do things by half measures. She’s either entirely chilled, or melodramatic and grandiose. "FU" is another pop goliath that could bless (and I mean *bless*, it’s a stonker) a West End Show. You can picture French Montana donning in a tuxedo, top hat and cane as he lays down his brief rap.
Do My Thang
The clubbiest track so far. Featuring sharp, exciting Trappy production, and a delicious scrunch-face drop, Miley rides this track just as comfortably as she carried Mike-Will-Made-It‘s “23”.
Maybe You’re Right
Another Wreckin’ Ball, this time with an Alicia Keys piano-pop edge.
Someone Else
Like Do My Thang, the track is super slick Trap-Pop that suits Miley’s youthful swagger to a T, boasting one of the most infectious beats on the record. It’s a surprisingly but effective closer, leaving the more-ish taste of Bangerz on your tongue.
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All in all, Bangerz lives up to it's name more accurately than anyone could've predicted. An album called Bangerz could've been a vacuous and appalling record based around a big US record label's idea of what makes a hit. Instead Miley delivers 13 defiantly provocative and almost obnoxiously confident tracks, clearly without a thought towards what her critics are saying. As a result it's humanly flawed, but carefree and seriously good fun.
And enough charm can convince the general public to buy into anything. Miley may have been a (perfectly willing) victim to all sorts of critical and public vitriol after her shamelessly bold rebrand, but once these detractors actually hear what Bangerz has to offer, the massive teddy-bear backpacks and twerking in Miley's past will be all but forgotten.
...then again, maybe she'll go on to sexualize line-dancing in her next video and open herself up to a whole new wave of disgust. We can only hope.
- Joe Copplestone, 3/10/13
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