As the host of last week’s MTV Video Music Awards, Miley Cyrus confirmed for viewers that she does in fact “smoke pot” and “love peace.” So when she announced a new, free album — “Miley Cyrus & Her Dead Petz” — at the end of her performance of the unbearable “Dooo It!,” it was unclear whether Miley would have anything else to say.
Apart from her Happy Hippie Presents collaborations on YouTube, “Dead Petz” is the first new music Cyrus has released since her 2013 hit “Bangerz.” Filled with hip-hop influenced hits, “Bangerz” was the rebellion that Cyrus needed to break out of her Disney-star mold.
Now, with the help of Flaming Lips frontman Wayne Coyne and “Bangerz” producer Mike WiLL Made-It, Cyrus has dropped a 92-minute collaboration of space rock beats, her often-confusing dreams and odes to past loves and dead pets.
Some of the songs on Cyrus’ 23-track venture are, in fact, almost impossible to listen to. “Milky Milky Milk,” which features lines like “from sucking on your nipples, licking milky, milky stars,” is doomed from the start. The music itself is a harsh mix of synthetic beats that do little to help Cyrus’ overproduced voice on the track. It’s a fact that Cyrus has real vocal abilities, and the layers of mixing over her voice do her a major disservice.
Other songs to avoid include “Miley Tibetan Bowlzzz,” “Tangerine (ft. Big Sean)” — which was surprisingly disappointing considering both artists’ abilities — and “I’m so Drunk.”
“Space Boots” is the song that you’d imagine the titular character from “Zenon: Girl of 21st Century” would listen to if she were into indie pop in 2015. Though this song is still heavy on the synthesizer, Cyrus’ voice is sweet, simple and isn’t overpowered by unfiltered noise in the background. A balanced and even marketable song, this track may be one of the album’s best efforts.
Suprisingly, the majority of “Dead Petz” isn’t as brash as its least successful tracks. Most of the album has a psychedelic, Jefferson Airplane vibe, which is no doubt aided by Coyne’s close work on the album.
One of the highlights of the album is Cyrus’ ballad “Karen Don’t Be Sad,” which provides a soft, piano-heavy take on the album’s space vibe. The song is lyrically strong as well, compared to some songs that are more difficult to grasp.
“Lighter,” likewise, is a standout on the album. While the lyrics leave something to be desired, the much-needed percussion that Mike WiLL adds on this track makes it one of the best to dance to on the album.
Of course, Miley’s beloved dead pets aren’t forgotten. “The Floyd Song (Sunrise),” pays tribute to Miley’s dog, which died in 2014. The dog was also honored on Cyrus’ “Bangerz” tour in the form of a huge, inflated replica. This song is not Cyrus’ strongest, but is a good choice if you need some background music for a sob fest.
“Pablow the Blowfish,” which was originally released in May, honors Miley’s lost pet Pablow. The track seems mildly ridiculous at first, but that becomes part of its charm. It’s a heartfelt ballad that brings the listener into Cyrus’ world of loss, and after a few listens, it’s hard not to be heartbroken about Pablow. Cyrus even breaks into tears at the end of the song, and whether or not they’re real, they’re convincing.
The album’s closing track, “Twinkle Song,” seems to literally be Cyrus trying to figure out her dreams. But aside from the on-key screaming at the end, the song itself is surprisingly pleasant and almost gives off a Regina Spektor “Fidelity” vibe.
Though the album is entirely too long, the songs with more restraint make clear Cyrus’ power as a performer. Miley may be stuck in her own dream world, but with some strong showings, “Miley Cyrus & Her Dead Petz” shouldn’t be overlooked.