Miley Cyrus sure has been reinventing herself recently.
In addition to the new hair and new style, she decided to refocus her music career by signing with RCA records and record her fourth studio album, “Bangerz,” which was released last week.
“Bangerz” has been highly anticipated because of what Miley has done herself to promote the revamping of her music career. Everyone saw or heard about her controversial VMA performance, where she got a little too comfortable with a foam finger and Robin Thicke. The performance debuted her new image to many who do not follow her closely. She also took part in an MTV documentary, “Miley: The Movement,” which followed her recording of “Bangerz” and her return to the music industry. The premiere of the show reeled in 1.6 million viewers and served as a great promotional tool for her album, which would come out a week later.
Miley’s new album really cannot be compared to anything she has done in the past. She described this new music as a mix of “dirty south hip-hop and country.” She worked with hip-hop producers Mike Will Made It, Mac Miller, Pharrell Williams, and Tyler the Creator to get a new hip-hop feel into her songs.
When Nathaniel Miller, a UT freshman, who is leaning toward a major in music, heard the album, he was surprised at what he heard.
“The music is a little weird, it’s a mix of country and rap, especially in the song ‘4×4.’ Not every song is the same; in some, she shows off her voice and in some, she’s more rapping,” Miller said. “I think she’s rebelling from Disney and who she was in the past. The album is really sexual. She is being original, which musicians need to do to stand out.”
Jamichael Knight, a UT freshman studying Kinesiology, also thought the album really stood out.
“The style was really different, but not bad. I think she’s trying to be controversial like Madonna,” Knight said. “I think the craziness of the album will make it successful. We see in the music world what’s usually considered overboard ends up being successful because people are drawn to controversy.”
Edited by Jennifer Brake