Sag My Pants Hopsin. No Words [Skit] No Words [Skit] Hopsin. Ill Mind of Hopsin 7 Ill Mind of Hopsin 7 Hopsin. Dodaj komentarz. Utwory na albumie Knock Madness. I Need Help. Old Friend. Lunch Time Cypher.
Hop Is Back. Rip Your Heart Out. Nollie Tre Flip. Dream Forever. Tears to Snow. Good Guys Get Left Behind. Gimmie That Money. The Fiends Are Knocking. Bad Manners Freestyle. What's My Purpose. Hip Hop Sinister. Still Got Love for You. Who's There? Jungle Bash. Caught in the Rain. Good Guys Left Behind. Larocca: The beat on this one is unmatched. It's both current and timeless, much like the topic of conversation: Cyrus wants a lover for right now but isn't looking for the baggage or the commitment that comes with relationships "I don't need a future, I don't need your past".
Ahlgrim: "Night Crawling" feels redundant, or perhaps too familiar. It's not different or unique enough to stand out from the other songs I've heard so far. I think Idol's deeper, masculine tone in the second verse is a welcome change of pace, but it's not enough to save the song from my proverbial cutting room floor.
I could do without it. I'm not sure it really makes sense, and I spent the majority of this song trying to figure out why he's here. These pop stars don't need old white men to help them make music, no matter how legendary they are! I understand wanting to work with an icon, but at least have them add something fresh to the track beyond only name recognition and prestige. Ahlgrim: "Midnight Sky" is the kind of song that slices through your eardrums, makes a nest inside of your brain, and swells bigger with every listen.
I loved it as a single, but I love it even more within the context of this album. It's certainly the poppiest song we've heard so far, and placing it in the middle of the tracklist offers a moment to reset and just vibe.
Larocca: I could see why "Midnight Sky" was chosen as the lead single, but I'll admit it had no lasting impact on me when it was released. Now, within the confines of this aggressively unapologetic, take-no-prisoners tracklist, it clicks effortlessly into place. Ahlgrim: "High" is unlike anything else on this album so far, and I love her for that.
Sometimes you need a blue-moon moment in such a strong, loud series of songs. Unlike its predecessors, this song's dominant instrument is an acoustic guitar, and the strumming pattern is both rousing and refreshingly light. I also love the flecks of Tennessee twang in Cyrus' vocals. My lasting impression of "High" is colorful and vibrant — almost pictorial, like the self-discovery-after-tragedy scene in a coming-of-age movie.
Larocca: Did I expect Cyrus to incorporate a country twang into her rock-focused album? Did I also expect it to be the best moment on said album? Also, no. But here we are.
While "High" is an original, it exemplifies exactly why Cyrus is also a queen of covers : she has a chameleonic, kaleidoscopic nature that lets her seamlessly flit from genre to genre without ever sounding contrived or out of place. And if Cyrus' next evolution involves a country-forward sound I wouldn't be opposed. I could listen to a song tracklist of just this forever.
I know the point of this review is to recommend which song s — plural — are worth listening to, but if you only have time for one, make it this one. Sure, your understanding of the album's sonic landscape would be completely skewed, but it'd be worth it — this is the project's fragile heart, masked by all the thunderous "I don't care" beats around it. It has inflections of "Malibu," shades of Cyrus' "Hannah Montana" years, and shards of glass from the wreckage of her real-life heartbreak that deceptively glitter and sparkle as they pierce right into you.
Ahlgrim: Conceptually, this song is extremely heavy: "I wonder what would happen if I die," she sings in the chorus. Just cut me open, Miley! Sonically, "Hate Me" is actually one of the album's brightest and shiniest.
The melody feels classic, like pre VMAs Cyrus. To me, that tension — the marriage of pretty, attractive melodies and deeply existential, melancholy lyrics — makes "Hate Me" one of the most captivating songs on the tracklist. This brings us right into the existential crisis of a chorus that's deceivingly clever and, of course, tragic. With the song "High" focusing on the inability to let someone go after saying goodbye, Cyrus implies here, too, that she hopes her loved ones feel something deeper after she's gone than merely a period of inebriation.
Ahlgrim: This is so iconic I can't even breathe. That thundering drum beat! Those fluttery little moans! Jett's snarling low notes! The only thing that could make this song better is a swelling, euphoric bridge — yep, and there it is. It's essentially Jett's iconic hit "Bad Reputation," stripped down and reimagined for Cyrus' persona.
But in this case, it's not the singer's reputation that she's unbothered by, but rather a series of karmic events. Cyrus doesn't give a damn 'bout her bad karma; she's gonna keep living her double life and being a taker heart-breaker — and she sounds great doing it. Ahlgrim: I really wanted to like this song more, since the lyrics are so compelling. The chorus does hit hard; Cyrus isn't holding anything back.
In fact, she told Lowe that Mark Ronson, who produced the song, questioned whether she really wanted to put these feelings on paper. I think the problem is how the production plateaus after that initial impact. It just gets a little snoozy. Larocca: "Never Be Me" is a gut-wrenching synth ballad that becomes more poignant when put into the context of Cyrus' romantic journey. She literally got married! After maintaining so much of her independence and self-confidence throughout this album, the reminder that she ever conceded parts of herself is a drop-kick strong enough to bring you to your knees.
Ahlgrim: The brilliance of this song is that it doesn't sound angry, but these lyrics glow like wide-open eyes. Cyrus masterfully tackles years of body-shaming, slut-shaming, and "stay in your lane" criticism with just a few short, deceptively simple verses.
The punchline of the first — "I did it all to make you love me and to feel alive" — is alive with malice, but delivered like a shrug. After an album full of songs about Cyrus' own freedom and liberation, this powerful takedown of sexist social norms is the perfect note to end on. Larocca: Despite this being a concise, minute project, it feels like the album ended with "Never Be Me" — but there's still another song left.
While there's excellent lyricism on "Golden G String," having two synth ballads back to back at the end of the album was a misstep. In a way, it could be a choose-your-own-ending scenario, but realistically, it would've been better if she only picked one — or filtered one of them into the tracklist earlier. Ahlgrim: There's a reason Cyrus has always had a knack for covers : It's not a one-sided affair. Rock and roll is clearly in her blood, as she's always displayed immaculate taste with the songs she's chosen to salute.
Cyrus' raspy, feral voice — not to mention her devil-may-care attitude — has always suited the genre. If you'd never heard "Party in the U.
This is the most thrilling vocal performance of Cyrus' career. But more impressively, the raw truth-telling and radical self-assurance that rock music inherently cultivates have yielded her best lyricism yet. Appropriately, "Plastic Hearts" has big "Bad Reputation" energy. A girl can do what she wants to do, and that's what Cyrus is gonna do.
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