Archive | 8:39 AM

Miley Cyrus: Plastic Hearts Album Review

6 Dec

Plastic Hearts:  The song has a lot going for it:  Good beat, catchy chorus, cool guitar break-down, but Cyrus’ voice is not one of them.  It sounds a little rough-especially for her age.

Angels Like You:  I can immediately feel the emotions in the song.  Cyrus successfully conveys, sadness and regret.  I like how she addresses her shortcomings, and the media’s perspective.

Prisoner:  This is one of the best songs on the album to listen to, yet I dislike it because there’s a lot that’s formulaic and cliche’ about it.  It’s too 80s, the guitar is too, the cadence is something I’m sure I’ve heard somewhere else (“Get Physical”?).  I want to hear MILEY, not a collection of previously successful elements.

Night crawling:  This has an awesome beat, synthesizer, and of course featured artist in Billy Idol.  It’s very 80s without being cliche;.  

Midnight Sky:  I love the deep tones in this one.  Also, I think it’s pretty strong lyrically.

High:  I’m relieved this isn’t a straight up weed song, since that’s pretty much what I’ve heard of Cyrus as of late.  It’s a really nice, country-skewing song, actually.  With some of the best singing thus far on the album.  I find it pleasant that the track is stripped down from all the 80s stuff in the prior songs.

Hate Me:  It’s a good break-up song.

Bad Karma:  I really love everything about this one except the backing “uh huh-uh uh huh” which is so annoying.  The beat, and the “fuck you” lyrics are amazing, as is Joan Jett participating and the word, “heartbreaker” in the chorus.  All very bad-ass and clever.

Never Be Me:  Too quiet of a song to follow the last one.  The only good part about it is the “fire” break-down.  Needs more.

Golden G-String:  When Cyrus can’t rely on famous featured artists, the songs are a little meh.  This is a stab at an introspective quiet piece, but it’s a little flat.

Edge of Midnight:  I mean, I’m not going to stand here and critisize a mash up with Stevie Nicks-a fucking legend.  Cyrus sings her part with a lot more passion then she had in the version without  Nicks.  And obviously, Nicks is cool and awesome and amazing–though her voice is shot (and perhaps always was).

Heart of Glass:  It’s a cool, and raw rendition of that Blondie classic.  The only reason I can even tell it’s not the original is Cyrus’ accent (speech impediment?).  It’s a good job.  Maybe Cyrus should stick to covers since that’s where she seems to excel most.

Zombie:  As soon as I heard the opening beat, I immediately knew this Cranberries song.  And I thought–she better not fuck this up!  This is a sentimental favorite of mine, and I wouldn’t want to hear it damaged.  Cyrus executes it well.  I don’t care for her more growly reading of the lyrics, but the song is full of power and emotion, and cool guitar licks just as it should be.  OK, the guitar might be better in this version.  I wan’t going to add a remake to my Spotify list because obviously the original song is superior and a favorite, but now I will based on guitar.

This album is awesome–but not really because of Miley herself.  She pairs with standouts and covers some favorites.  But whenever it’s Miley, by herself on her own track–it doesn’t really hold up.

Alanis Morissette: Such Pretty Forks in the Road Album Review

6 Dec

Ablaze: I always feel intellectually elevated by Morissette’s lyrics. She uses complex words that are still accessible. This is a love song from mother to children. I like how she addresses each child, the boy and the girl, but it’s not sexist. She likes different things about them and wants different things for each, but not once is there a heteronormative view.

Reasons I Drink: This song is very catchy, and I like to see a matured, even keeled, yet still highly relatable human version of Alanis.

Diagnosis: A quiet piano-driven song with beautiful violins peppering in to evoke emotion.  I like how she’s still fiercely independent. She is saying she’s the one who has to live with this, and “…  call it what you want I don’t even care anymore.  Call me what you need to make yourself more comfortable.”  It’s such a powerful lyric and sentiment about embracing your mental status, no matter what others think or say about it.

Missing the Miracle: I don’t like how this song starts–a little too saccharine in the singing. It seems to be a poem.

Losing the Plot:  I like the darkness of this song.  The music itself has the wonderful deep bass sound that drives home the fact Morissette is digging deep emotionally and lyrically.  The piano trails off, which allows the listener to tune into the lyrics–it makes the song more thoughtful.  I also like the sentiment and word order of, “I am reaching the end of super-womaning.”  This might be one of Morissette’s best songs of her career (top 5).

Sandbox Love:  Too light for me.  It’s a little superficial musically and too optimistic(?) lyrically.  I see what she was trying to do here, but I think the song would have benefitted from more variation, and some heavier instrumentation somewhere.

Her:  I have to listen a 4th time to figure out what this song is about and what it’s saying. 

Nemesis:  Another song with darker music tones–I really like the sound she’s going toward.  

Pedestal:  I like the message and symbolism throughout this song.  And the strings are beautiful and melancholy, which fits the vibe nicely.  Now that I’m hearing a bridge, I think that’s maybe what those lighter songs I didn’t care for needed.  They needed something to break them up a little.  This bridge adds a sense of desperation, drama, and emotion.  

I feel like half of this album is my favorite.  It’s a more mature version of Morissette, though she’s still got that edge I’ve always loved.  She is honest and emotional, independant, yet in this album, there’s more vulnerability then I remember on prior works.

But then half of the songs fall into the “trite” category.  Maybe a little too saccharine for my liking.