Miley Cyrus is back. The singer once again combines pop, rock and country, although giving more space than ever to techno and dance, in her eighth studio album, Endless Summer Vacation. An album with which he takes a step beyond his previous one, Plastic Hearts, and that revolves mainly around love affairs that ended. Something that had advanced with his first and combative single, Flowerswith a repertoire that works as a cocktail of nostalgia, desire, longing and melancholy.
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That song gave the feeling that it would be the spearhead of a record work that would revolve around singing to oneself with hints of revenge and an energy that would lift her from every imaginable chair, sofa or bed. And in a certain way it does, but it remains more closely tied to a humanity in which the pain and the desire to get ahead and vindicate oneself is fed back with a duller and darker background.
The singer accompanies the release of her new album with a documentary that will be available this Friday from 7:00 p.m. on Disney+.
‘Flowers’
The first and only single that Miley Cyrus had published before the release of the album was in itself a statement of intent. A punch on the table in terms of vindication of herself in this song in which she transformed her spite into her own self-esteem. The song had the “bad luck” of being published two days after the phenomenon signed by Shakira and Bizarrap, in a week in which it was difficult to be noticed beyond the hit in which the Colombian sealed her revenge against Gerard Piqué for having been unfaithful to him. Even so, the American also managed to penetrate with her melody and lyrics, in which she also referred to a breakup. In her case with actor Liam Hemsworth.
In his refrain he claims: “I can buy myself flowers. Write my name in the sand. Talk to myself for hours. Say thing you don’t understand. I can take myself dancing and I can hold my own hand. I can love me better than you can” (“I can buy myself flowers. Write my name in the sand. Talk to myself for hours. Say things you don’t understand. I can ask myself to dance. And hold my own hand, I can love myself better than you.”) Verses that convey a supportive message of empowerment driven by Cyrus’ signature bass, and that coherently introduce her new album.
‘Jaded’
Jaded (Harto), the second song on the album, follows a line of continuity with the first, as it also revolves around a breakup in which, according to intuits, her ex-partner ended up worse off than her. “I’m sorry you’re tired, I could have taken you to so many places, now you’re alone and I hate it, I’m sorry you’re tired”, she prays in a refrain that exudes a melancholy and guilt that close doors to any second chance; but they do act in a way as excuses.
“I don’t want to call you and talk too much, I know I did wrong but I never said I was sorry. Now that I’ve had time to think about it, we’re much older and the bone is too big to bury.” All this in a song that mixes calm pop and rock. The artist talks about how to deal with the other part of a goodbye to a relationship, over which she no longer has control and power, and that it hurts not to see well.
‘Rose Colored Lenses’
The journey continues, with a slightly brighter point, with a Red Colored Lenses who dreams of being able to extend a context and a company forever. Whether it is an impossible love, a present love that you want to encapsulate so that no one or nothing can stop the feelings you are experiencing at that very moment, the passion of an unfaithful romance; or simply dream of an eternity, away from everything. “Dawn has woken us up early. We dress in shame. Somehow the sheets are dirty, like sticky sweet lemonade,” Cyrus starts singing.
Arriving at the chorus, he directly cries out for being able to stay in that moment forever, “lost in this wonderland”.
‘Thousand Miles’
The album continues with a song that wants to look at electronics, which includes the sound of bagpipes in its ending, and which is signed with the singer Brandi Carlile. On this occasion, Cyrus sings of a love from the past that she is unable to give up. “It’s amazing that she’s coming home in an old Mercedes. You think I’m crazy and you may be right, but when he smiles I don’t care about the past”, she admits in her first verse, “I told myself that I had closed that door but here I am again”.
In addition, it claims, although with other words, the saying: “Repent of what you have done and not of what you have not done.” In his case, intoning: “I’m not always right, but even so, I don’t have time for what went wrong. Where I end up, I don’t really care. I’m out of my mind, but still, I keep holding on.”
‘You’
A song once again inserted in a post-breakup story, although now with a greater desire to forget, through another body and another evening. The singer gives her strength to build a “with you” that does not have to be eternal, but transcendent. “I want to drive to Texas, push my exes away, be a little reckless, and have wild sex under the moon, but only if it’s with you,” she admits. The way in which Cyrus breaks her voice reveals a pain for what she desires and longs for, but to which she, at the same time, finds it difficult to surrender.
‘Handstand’
The start of Handstad reminds a lot of the Bad Romance by Lady Gaga, with a spoken voice that introduces the story of what will come next, immersed in electronic music. With it, he expresses a desire that is not clear to him that it will be able to materialize, traversed by astonishment, the dream and evocation. “I wish I could crawl into your heart, take you prey, and then sail away. I wish I could know what forever would be. Take me prey and sail away, ”she asks.
‘River’
River resonates with a song from the 80s, with combative techno. “Blowing bubbles in the bathroom, lately I can’t stop thinking that you could have been the only one, having the honor of having my children. To have expected them to have your eyes and that crooked smile,” Cyrus says, “I was a desert before I met you, I was in a drought. My heart is beating so hard it’s choking me. Living in an April rain, you’re falling, drown me.” This has been the danceable theme that the artist has chosen to launch the second video clip of her album.
The singer reveals in her documentary that she composed it at a time in her life when she was “going through too much, emotionally and personally.” “All my songs evolve,” she muses, “they can start off based on something that was a problem, that you feel is like April showers when it starts to rain.” Of course, she ends up describing the song as “obscene” because of how, above all else, she talks about “sex”.
‘Violet Chemistry’
Con Violet Chemistry moves towards him dance with whom he talks about the end —or not— of a night out. That moment when the lights of the place on duty come on and, despite it being the end, opens the possibility of moving on with that person you have noticed, with whom you have spoken and who is willing to stay with you. “Stay a while, don’t deny the chemistry”, Cyrus sings, predicting a possible and fruitful night/dawn that could well imply a sex that both parties seem to have been crying out for.
‘Muddy Feet’
La mala baba stars in her second song on the album, Muddy Feet, in which Cyrus joins hands with Sia as he approaches rock with “muddy feet” again. “I don’t know who the hell you think you’re messing with. Get out of my house with that shit”, she intones in what seems like an obvious reference to infidelity, “get out of my life with that shit”. The anger is obvious: “You smell like a perfume that I didn’t buy. Now I know why you’ve been closing the curtains.”
‘Wildcard’
Cyrus defines herself as a “wild card” in one of the songs that is most reminiscent of her previous album, Plastic Hearts, as for the rock that exudes. “Do you want to play house? I could be your mother. Go meet your mother in a too-tight dress. Maybe she can stay and not break your heart. But don’t forget, I’m a wild card,” Cyrus sings.
‘Island’
The singer approaches the outcome of the album with the eclectic Island. A song in which the singer sings from an island that is worth her to delve into solitude. “I can paint my toenails while soaking up the sea. The only thing I’m missing here is you and our television. And I’m not going to lie to you, I sure do get lonely here at night. But nobody here needs anything from me and it’s nice, ”she raises in her lyrics. At the end of it includes the relaxing and deep sound of the waves of the sea.
‘Wonder Woman’
Cyrus closes the album with a brilliant ballad in which Cyrus captivates and moves with this anthem about a woman he admires, respects, understands and praises. A woman, or many. “She is a wonderful woman, she knows what she likes, she never knows when she is broken because she is always flying. She is a million women, ”she intones, although the verse“ I was in her hands ”allows us to sense that she dedicates it to her mother. “You never know that she is broken, only when she cries,” she concludes the particular tribute of her.