Miley Cyrus’s Ambitious New Album: *One Thing Ravishing*

Miley Cyrus is making waves with her forthcoming ninth studio album, titled *One Thing Ravishing*.The 32-year-old pop icon views this project as more than just a series of tracks; she aims to “heal a bit of a troubled culture through music.” This album is designed with “therapeutic sound elements” that are meant to “resonate frequencies within your body, elevating your vibrational state.” In addition to the album,fans can expect an innovative film—a “unique pop opera” inspired by Alan Parker’s 1982 film adaptation of Pink Floyd’s *The Wall*,but featuring more extravagant costumes and a modern aesthetic.

Considering that her last release featured the year’s top-selling single—*Flowers*, which garnered over two billion streams—it truly seems improbable that her record label would overlook such ambitious concepts; though, they may struggle with the unconventional path she is pursuing this time.

Exploring Uncharted Territory

Cyrus has previously ventured into unexpected musical realms; for instance, after her blockbuster album *Bangerz*, she released *Miley Cyrus & Her Dead Petz*, an eclectic project filled with stoner humor and surreal collaborations alongside members of the Flaming Lips.
When concerns arose from her label about one track’s length potentially testing listeners’ patience during production, she responded by extending it further to include recordings featuring Tibetan singing bowls.

The artist also has a history of releasing projects that diverge from their initial descriptions—such as her not-so-contry album *Younger Now* in 2017 or *Plastic Hearts*, where she claimed to explore new wave rock but ultimately delivered something stylistically different than expected.

A Cinematic Experience Like No Other

The accompanying film appears primarily composed of straightforward studio performances interspersed with cinematic visuals resembling extended advertisements for luxury brands—Cyrus can be seen strutting through various backlots adorned in vibrant blue fur chaps or wandering down Hollywood Boulevard at night amidst crowds near Arnold Schwarzenegger’s star on the Walk Of Fame.
Ther are moments where she pretends to ride motorcycles while sharing scenes alongside Naomi Campbell dressed similarly in matching outfits—a choice perhaps better suited for fashion runways than serious cinema.

This departure from creating another version akin to *The wall*, which explores themes surrounding wealth-induced isolationism could be refreshing given today’s cultural landscape saturated with similar narratives; nonetheless one wonders if premiering at Tribeca Film Festival may come off as excessive embellishment.

A Diverse Musical Landscape

The album itself presents listeners with mixed emotions largely because its claims about healing sound properties seem somewhat disconnected from reality.
It opens intriguingly like an old-school soul ballad complete with elegant horns before transitioning abruptly into distorted vocals layered over heavy rock guitar riffs.
Following this initial shockwave though things settle down considerably featuring sparkly ‘80s-inspired pop tracks embellished by piano flourishes reminiscent of ABBA on “End Of The World,” while “Simple Lover” leans towards disco-infused soft rock vibes alongside synth-heavy ballads like “More to Lose.”

The latter half shifts focus toward dance-oriented tracks characterized by driving beats reminiscent of Patrick Cowley or Bobby O synthesizers evoking European musical influences ranging from French chanson on “Reborn”, echoes ABBA again on “Every Girl You’ve Ever Known”, culminating in high-energy Eurovision-style entries like “Walk Of Fame”. This revivalist approach isn’t without merit—it taps into one area where contemporary music hasn’t fully explored yet—and does so effectively here showcasing edgy synth sounds paired beautifully crafted choruses punctuated throughout each track along side standout contributions such Brittany Howard lending powerful vocals akin Grace Jones style during “Walk Of Fame”.

If much else fails deliver any psychedelic experience worth noting—the overall effect feels less transcendent than expected—it remains well-crafted showcasing varied styles allowing room for Crysus’ distinctive raspy voice shine through each piece despite lacking clear commercial hits likely needed ensure success moving forward:< br > Tracks such as both ‘End Of The World’ & ‘Every Girl You’ve Ever Known’ stand solidly but lack undeniable catchiness necessary propel them higher charts ultimately leaving question whether disparity between expectations set forth versus actual product delivered may hinder reception overall upon release later this year!

This Week Alexis Listened To:

• Saint Etienne – Happy:< br /> A fantastic single heralds Saint Etienne’s final album—a collaboration featuring Chemical brother Tom Rowlands infusing idealistic pop energy onto his psychedelic breakbeat backdrop!