With its fresh, smart takes on youth, heartbreak, and modern culture, Bangerz is a record that could very well legitimize Miley Cyrus.
This delusional “growing up is bad” aspect of Bangerz is part of what makes it good, because it means that Miley can pull off things that shouldn’t work.
"Bangerz," Cyrus' fourth studio album and RCA Records debut, is, for better and worse, the sound of a singer following a pair of enormous singles with a full-length completely from the perspective that birthed those two hits.
Bangerz is the sound of Hannah Montana gone Miami Vice.
Don’t be shocked that this album is mid-level pop, be surprised that even at 20, Miley can open her scope to encompass country, hip-hop, ballads, and even the electronic impulses of today’s pop.
Bangerz transforms Miley into a pop star who won't -- and can't -- be ignored as she rings in her twenties.
Bangerz is all over the place; we go from something hyper-sexualized to something heartbreaking and somber, and there’s still some odd stuff in between.
In a year where the pop charts’ two biggest singles sound like Jamiroquai and Emeli Sande has sold more albums than anyone else from the UK, a record this entertaining, diverse and full of surprises – and often, yes, good songs – feels like a breath of fresh air.
It is in appearance and general form a standardly incoherent major American pop record, where shrill rock ballads collide with R&B beats and bussed-in rap verses.
There are more hits than misses.
Regardless of which it is, in trying to chase the ley lines of the pop music discourse of the current day, Bangerz feels a little lost for direction.
While Bangerz pleasures are fleeting at best, the times when she goes all-out goofy, embracing the campy side of the popstar equation, she actually seems to have found her groove; shame these moments are surrounded by such atrociously forgettable filler.
Bangerz is a precise album that flits between bombastic and turgid; it is not very fun.
Bangerz feels stitched together in the dark, and the attention-seeking begins to grate.
If there’s one thing that Bangerz can be described as, it’s run of the mill. There’s obviously a fair number of swear words and lots of references to sex scattered around the place, but even this just sounds so cynical as to come across as utterly innocuous.
These so-called Bangerz are hookless, poorly written, dully produced songs, and their singer doesn’t have the charisma or talent to see them through.
Bangerz isn’t really all that bangin :(
Bangerz é o álbum mais rebelde de Miley, lançado no auge de sua carreira, ele foi um divisor na carreira dela.
Mas mesmo assim, a sonoridade é fraquissima, o álbum se sustenta basicamente nos singles, ele é longo e entediante, e as músicas não soam tão original quanto a personagem de Miley na época.
As letras são tão horríveis quantos os outros quesitos do álbum, em geral, elas ... read more
First Experience: Miley's greatest hits are probably on this album, which does seem to be the best of her career in chronological order, but we can't deny the lack of consistency. I feel that the maturity that the album exudes hasn't reached all the songs, so we have solid melodies followed by some really bad ones. Overall, it's an interesting piece of work, but could have been given more production time to enhance some points.
Added to my playlist: We Can't Stop, Wrecking Ball and Do My Thang.
1 | Adore You 4:38 | 79 |
2 | We Can't Stop 3:51 | 82 |
3 | SMS (Bangerz) 2:49 feat. Britney Spears | 57 |
4 | 4x4 3:11 feat. Nelly | 64 |
5 | My Darlin' 4:03 feat. Future | 63 |
6 | Wrecking Ball 3:41 | 87 |
7 | Love Money Party 3:39 feat. Big Sean | 59 |
8 | #GETITRIGHT 4:24 | 66 |
9 | Drive 4:15 | 76 |
10 | FU 3:51 feat. French Montana | 72 |
11 | Do My Thang 3:45 | 64 |
12 | Maybe You're Right 3:33 | 69 |
13 | Someone Else 4:48 | 72 |
#3 | / | Entertainment Weekly |
#18 | / | Amazon |
#27 | / | Rolling Stone |
#34 | / | The Guardian |
#49 | / | FACT Magazine |