Miley Cyrus Drops Yet Another Directionless, Hot Mess

SHE IS COMING is a half-baked, hot mess that is fluctuates between boringly safe and confoundingly awful.

Miley Cyrus is country/pop singer from Nashville, Tennessee. She rose to massive fame as the most prominent figure in Disney’s mid-2000’s class of musical stars. Under the Hannah Montana moniker, she released five LPs full of relatively inoffensive pop music alongside three fairly similar releases under the Miley Cyrus name. Having released five albums by the age of 18, Miley seemed to feel a bit boxed in as the character she’d played on Disney Channel. She quite admirably broke this box with her 2013, triple platinum album, Bangerz, which was vulgar and daring, if a bit meandering. This was followed by the horrendously bloated Miley Cyrus and Her Dead Petz which received a limited release and her much tamer, full scale follow up, Younger Now in 2017. While Miley’s recent work has been commendable in its effort to push boundaries and change her public image, it’s largely felt aimless and thoughtless and virtually never takes advantage of her genuinely impressive vocal abilities. SHE IS COMING is no exception.

The EP opens with “Mother’s Daughter,” which is perhaps the only listenable cut on the tracklist. The trap drums play quite well against the spacey, piano-driven instrumental and Miley’s vocal performance is actually quite strong. The vocal tuning is entirely over the top and the lyrics are atrocious, but the hook is somewhat singable and Miley seems closer to a middle ground between her pop sensibilities and edgy desires than she has in the past.

“Unholy,” follows and a few of the issues with this project start to become apparent fairly quickly. The change in producers from track to track robs it of any possible coherence and Miley’s breathy, hissing vocal is extremely overproduced. The trap drums entirely overpower every melodic element, though none of them are interesting enough to warrant being pushed to the front of the mix. Worst of all, the lyrics on this cut are just awful, and the entire song sounds completely half baked, as does much of the EP.

“D.R.E.A.M.,” falls in the middle of the project and is one of the most disjointed messes of a song I’ve ever heard. While the chorus is admittedly catchy, Miley’s voice is once again breathy and overproduced as she sings over a hokey piano line which could fit comfortably on a High School Musical soundtrack. The only possible saving grace for the track would seem to be the feature from Wu-Tang alum, Ghostface Killah, but instead he phones in a short, unrelated verse on a completely different instrumental which only takes up that 20 or so seconds.

“Cattitude,” is the forth track on the EP and an absolute dumpster fire in musical form. Every single element, from the bizarre and endless RuPaul feature, to Miley’s embarrassing attempt at rapping on the verses, to the horribly vulgar lyrics is simply unlistenable. I can’t fathom how anyone let this song leave the studio’s doors but luckily for the listeners, it seams to be the rock bottom for the record.

“Party Up The Street,” sees Mike Will Made-It taking over production duties for the only well produced song on the tracklist. Swae Lee’s feature is flat throughout the entire track and the instrumentation is boring and uninventive, but a few of the melodies are genuinely well-written and it seems to be the only cut that anyone actually cared about. It serves as a welcome switch up from the aggressively terrible tracks that precede it.

The project closes with “The Most,” which is fairly inoffensive, though it offers little by way of intriguing ideas. The chorus is fairly well-written and features some of the only passible lyrics on the EP and Miley finally gives an impressive vocal performance, which has been lacking from every song thus far. That being said, its still quite overproduced and uninventive and features an irritatingly nondescript synth lead covering the majority of the melody.

Ultimately, this EP is a mess. It somehow finds a way to feel lazy and half-baked yet overproduced and soulless at the same time. Miley’s recent career has been full of spinning wheels without a track, but SHE IS COMING is the worst in this regard. I don’t see any audience for this or even a reason for it to exist.

SHE IS COMING is a half-baked, hot mess that is fluctuates between boringly safe and confoundingly awful.

1/5

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Czarface Joins Forces with Fellow Legend for a Fun LP

While Czarface Meets Ghostface may not be hold the attention of a casual listener, it’s an absolute can’t miss for fans of classic, East Coast hip-hop.

Czarface is the an underground hip-hop super group made up of producer 7L, rapper Esoteric, and legendary Wu-Tang MC, Inspectah Deck.  They debuted in 2013 with a self-titled record followed by Every Hero Needs a Villain two years later, both on Brick Records. They signed to Silver Age Records in time for their 2016 effort, A Fistful of Peril and dropped First Weapon Drawn the very next year. Over these four records, the trio had crafted an entire mythology for the Czarface character who is heavily inspired by the lore of 1990’s comic books. In 2018, they paired with legendary MC, MF Doom. The match seemed to be maid in heaven as much of Doom’s discography is similarly comic book inspired. The album, Czarface Meets Metal Face was one of the best rap albums of last year. Now they’re back with another genre legend.

Wu-Tang alum, Ghostface Killah needs very little introduction to any fan of hip-hop. He debuted in with 1993’s triple platinum Enter the Wu-Tang which was followed in ’97 with the quadruple platinum, Wu-Tang Forever. Both of these are virtually scripture for fans of East Coast hip-hop, but Ghostface also has 13 solo LP’s to his name, including his platinum debut, Ironman. Few MC’s in rap history can rival the man’s pedigree, though two who can find themselves on this album with him.

This comes as no surprise, but each artist more than pulls their weight on this project. Ghostface Killah strikes first with an incredible verse on “Face Off,” where he is certainly the best part of the track. He also goes out with a bang on his last cut, “Mongolian Beef.” His flow is, of course, similar to his fellow MC’s, but he differentiates himself with complex, multi-syllabic rhyme schemes and an aggressive delivery.

Inspectah Deck, on the other hand, has a more braggadocios style that really shines threw in the latter half of the record. On tracks like “Listen to the Color,” or the hilariously titled closer, “(Post Credit Scene),” Deck’s performances are dripping in attitude and make a nice counterpart to Ghostface’s more aggressive vocals. His flow is simpler but his lyricism is often the most impressive on a given track.

Surprisingly, however, it’s neither of the Wu-Tang alums who come off looking the best on Czarface Meets Ghostface. That title goes to Esoteric. Across the record, he more than holds his own among fellow legends and on tracks like “Iron Claw,” or “Powers and Stuff,” he outshines them quite a bit. His flow is complex, his delivery is excellent, and lyrically, he lives a ton of unique references as bread crumbs for repeated listeners.

When it comes to instrumentals, unfortunately, we have a somewhat mixed bag. There are moments of brilliance from 7L without a doubt. The “Macho Man” Randy Savage soundbite in the opener, “Back at Ringside,” is excellent and using what sounds like Donkey Kong 64 theme as the driving melody on “Morning Ritual,” may be one of my favorite details ever in a track. In fact, on a cut like “The King Heard Voices,” the beat as a whole is one of the best in recent memory.

However, most of the record is a bit lacking in interesting ideas. Songs like “Czarrcade ’87,” and “Masked Superstars,” are noticeably repetitive, but there’s a bad tendency on the whole album to gather just a few interesting samples that sound good on first listen but very poorly cover for the lack of depth or layers on these instrumentals. Most of the tracks come off as just similar drum beats on loop.

On the whole, this album is a treat. Three all time great MC’s find themselves working together and, somehow, none of them have lost their edge. While many of the instrumentals find themselves lacking, they’re good enough and certainly aren’t the focus. Instead, the lyricism and mythology is on full display and we’re left with an enjoyable collection of hip-hop tracks.

While Czarface Meets Ghostface may not be hold the attention of a casual listener, it’s an absolute can’t miss for fans of classic, East Coast hip-hop.

6/10

AMAZON LINK: https://amzn.to/2U65p9t