★ ★ ★ ★ out of 5
Since quickly leaving her squeaky-clean Disney image behind for her Can't Be Tamed metamorphosis, Miley Cyrus has dabbled in just about every music genre with each subsequent project.
She let her tongue do all the talking on hip-hop heavy Bangerz, went down the experimental route with Miley Cyrus & Her Dead Petz, did what every other pop artist did in 2016/2017 and released her country-influenced Younger Now album, and combined it all for She Is Coming last year alongside RuPaul and Ghostface Killah.
That latter extended play was originally intended as the first piece of a then-seventh studio album, one the artist detailed as showcasing the most confident version of herself. However, just as the COVID-19 pandemic took its toll on the world, Cyrus felt the crushing mental weight as well. She scrapped initial plans to announce Plastic Hearts, a rock-tinged outing.
Preceded by the stellar "Midnight Sky" and Dua Lipa-collaboration "Prisoner", the new album highlights Cyrus' raspy vocal delivery and a passion for grunge and metal. Boasting additional appearances from legends such as Billy Idol, Joan Jett, and Steve Nicks, Cyrus easily maintains control and poise as she touches on personal topics such as romantic separation and self-pleasure. In the end, the project emphasizes the artist's chameleon-like abilities, forcing naysayers to take notice and stay quiet moving forward.
No point in denying exceptional album opener "WTF Do I Know" is directed pointedly at Liam Hemsworth and the aforementioned naysayers. Touching on her controversial public persona transformations over the decade, the artist makes it clear she is done apologizing for who she is. Exposing drug problems, embracing her love for nudity, getting married just for the attention, Cyrus leaves nothing to imagination or speculation on the rock/punk pop hybrid.
Title track "Plastic Hearts" maintains the 80s rock mystique, but leans more towards the work of The Eagles rather than Metallica. Shedding light on the façade of a laidback California, Cyrus takes aim at the fake and conniving. In order to stay out of the dark, the artist remains grounded in reality to shield herself from potential harm. "Love me now, but not tomorrow, fill me up, but leave me hollow, pull me in, but don't you get too close," she sings to her home state.
The album's first ballad "Angels Like You" details the quick blossoming and deterioration of Cyrus' first relationship with a woman, shortly after the artist called off her Hemsworth marriage. Misery loves company she sings, as the two women bonded over similar heartbreak, growing closely together in agony and recovery. However, just as a strong bond was starting to form, Cyrus resorts to typical behavior and severs the cord. She apologies, but it does not change the unfortunate outcome.
Dua Lipa joins Cyrus on "Prisoner", a spiritual sequel to Lipa's own "Physical", both of which sample an iconic classic from Olivia Newton-John. The two dominating pop personalities showcase incredible chemistry and vocal harmonies, instead of competing for the spotlight. Cyrus and Lipa sing of controlling relationships and partners, forcing the other to feel stuck in a never-ending, unhealthy cycle. Whether the women are the victims or abusers is still up for interpretation though.
"Gimme What I Want" is a brooding and straightforward ode to pleasure, whether at the hands of another, or your own. Cyrus welcomes a partner in crime, insists she does not care about closet skeletons or the promise of commitment. "I don't need a future, I don't need your past, I just need a lover, so gimme what I want or I'll give it to myself," she entices on the chorus. However, while the artist acknowledges a hate for being alone, she reiterates a comfortability with self-management.
Cyrus' own rebel yell is answered by punk rock prince Billy Idol on "Night Crawling", as both artists form a bond over shared bi-polar behavioral tendencies and their provocative public personas. Whether in relation to romantic commitments or self-preservation tactics, they rock out to the need and desire for balance. Perhaps only because Idol and his deep vocals are featured, the track stands out for its authentic punk essence and faithful homage.
Mark Ronson lends production support on "High", ensuring her audience that Cyrus hasn't lost her love of country twang. The artist sings of navigating through the darkness and hurt that comes with a broken heart and relationship. Though she did her best to say goodbye, Cyrus can't help but envision the perfect movie ending she will never have. The somber sentiment is carried home with a simple acoustic guitar and emotive vocal delivery.
Cyrus has openly shared in her setbacks and angst. "Hate Me" finds the artist wondering how those closest to her would react to her sudden death. With joy or despair? Would they forgive her for wrongs or continue to place blame? "Would it be too hard to say goodbye, I hope that it's enough to make you cry, maybe that day, you won't hate me," she yells out of frustration and curiosity, on a track said to be inspired by an actual near-death experience.
"Bad Karma" teams Cyrus up with another rock legend: Joan Jett. An ode to living in the moment, both artists purposefully choose to ignore potential consequences of their actions to focus on the pleasurable rush of bad decisions. The rebels acknowledge their tendency to lie, to break hearts, and live double lives. In the end, it's their prerogative, unchanged by the thoughts of others. They've accepted that what goes around comes around, they just choose to worry about it later.
Cyrus channels the Bee Gees and Celine Dion on self-reflective "Never Be Me", where the artist acknowledges her faults but refuses to apologize for them. Instead, she explicitly informs her partners of what exactly they get when they make a pass at her heart. They will be disappointed, she's warning them now. "But if you're looking for stable, that'll never be me, if you're looking for faithful, that'll never be me," she somberly sings on the hook.
The album properly closes out with "Golden G String". Ridiculous title aside, Cyrus reflects on unjust expectations from the general public, while they give a pass to those who should be held to stricter standards than a pop star. However, though frustrated and exhausted with needing to justify her actions, she holds steady and focuses on pushing forward. Instead of criticizing those here to entertain, place the pressure on those with more power at their fingertips.
In addition to original material, Stevie Nick graces a glorious mashup of "Midnight Sky" and "Edge of Seventeen", while Cyrus gives proper respect to Blondie and The Cranberries with impressive, career-defining covers of "Heart of Glass" and "Zombie" respectively.
Plastic Hearts is a culmination of Cyrus' personal ups and downs over the last two years. One project designed to highlight confidence was replaced by another. Initial hip-hop and alternative influence was exchanged for an authentic passion for 80s rock, even though the artist was born a full decade later. Through heartfelt subject matter and stirring vocal performances throughout, holding her own against Dua Lipa, Billy Idol, Joan Jett, and Stevie Nicks, Cyrus delivers a cohesive, resounding battle cry. The artist is done with explaining herself, done with apologizing to those easily offended, done with allowing others to control her next steps. She's in command, she always has been. Perhaps she only needed to embody a genre fueled by angst and rebellion to get the message across.
Tracks to Hear: "WTF Do I Know", "Gimme What I Want", "Night Crawling" feat. Billy Idol, "Midnight Sky" and "Never Be Me"
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