Her first album as MILEY, in all caps for dramatic effect. Similar to when Prince changed his name to a symbol, the fundamental sound of what she does did not change with this new persona. We are now 10 albums in so she knows what she is doing. It opens with the title track that was also the lead single, an 80s synth wave groover. She continues to keep her sound fresh and willing to experiment, as heard on "Different Religion," where she is joined by Model / Actriz, who is also opening for her on the sparse live dates she has booked. It's a little darker than the first track, and more of a steamy and darker. Rather than belt it out at full chest register, she is using more dynamic vocal nuance.
"Let's Get Married" is a little more like the kind of pop ballads on her previous album in its reflective nature, but it sounds like there is an actual bass player rather than workstation bass samples. There is a hint of dream pop to this one."Orbit" is another ballad, not as vital as the previous song, as this could be anyone except for the fact she has a more distinct voice than even Taylor Swift when it comes to pop music; pound for pound, she has a better voice than Swift is just a songwriting ninja.
The more atmospheric elements of "Aftermath" are balanced out by the EDM beat. She can read the room when it comes to where pop music is heading. Another difference between her and Swift who makes the market come to her. "Redlight" works as a low-key funky groove that merges many sounds from varied sonic corners, even country music, which is the remote undercurrent she can't escape no matter what name she goes by.
One of the singers from Mike Snow joins her for "Neon Signs," which is extra gay sounding thanks to him. If this is her stab at taking Dolly's place as a gay icon, her application is certainly being considered by the council of queens. This is further hinted at as she implies she's a lesbian on "Innocent Ways," which is a pretty thumping song. "Snow" is carried by a more indie pop groove it's almost more of a ballad until the beat kicks in at the chorus. I like how she twists her phrashing around the programmed drums. The remix of the first song that it ends with is a gay enough house remix to make everyone happy. I will round this one up to a 10 and see how it grows on me, much like all of her albums; chances are it will.
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