Miley Cyrus shows remarkable growth in new album 'Younger Now'

— -- Naysayers beware! On “Younger Now,” Miley Cyrus shows remarkable and much-needed growth. The need to shock, the Autotune/vocoder effects and the ill-fitting hip-hop poses of “Bangerz” have all fallen by the wayside, leaving a confident, comfortable and surprisingly mature-sounding record.

Cyrus is finding her own niche, heading back to her family’s country roots, but her music is sprinkled with a surf-driven, California indie-rock undercurrent, indicating that while she was recording this album she may have been listening to the country classics, but also possibly one or two Best Coast albums as well. There’s a relaxed, casual quality to both the title track and the single, “Malibu,” while “Week without You” is an old-school lullaby-style love ballad.

The album’s cross-pollination of country elements and ethereal guitar-work is its calling card. As the riff reverberates across your speakers on “Miss You so Much,” it becomes abundantly clear that this is world away from both “Bangerz” and her internet-only Flaming Lips-assisted “Dead Petz” record. Granted, “Bangerz” did have “Wrecking Ball,” but that was a tremendous song on an otherwise pretty dreadful record. The same was true for “Karen Don’t Be Sad” on the “Dead Petz” record, which was a similarly spotty collection but at least more interesting than its more proper predecessor.

“Younger Now” shows Miley Cyrus focusing on her strengths. Songs like “I Would Die for You” and “Bad Mood” have her putting her voice to excellent use. This is an album without any glaringly distracting moments. The closest to a momentary lapse is the slightly repetitive “Thinkin’” which still has its high-points, especially when it takes a sharp turn and has a key-change during the bridge.

This is just a very even, satisfying record from Cyrus. The one purely country moment comes on the delightfully playful “Rainbowland,” her spirited collaboration with her godmother, Dolly Parton, whose phone message begins the song. If Miley can hold her own with Dolly, that really means a great deal.

This album is marketed as a bit of a reboot and it works effectively in that regard. Miley has moved on from her child star/teen phase. She’s moved on from her rebellious years, which were perhaps an over-correction after feeling limited during the earlier parts of her career. In quite a few ways “Younger Now” feels like the first time we’ve heard Cyrus fully in her own element. She’s never sounded more comfortable on record. This album serves as reassurance that Miley Cyrus is a very worthy talent who can put together a solid offering. This is Cyrus’ first step to not only silencing critics who have doubted her in the past, but also to a long, illustrious, respectable career.

Focus Tracks:

“She’s Not Him” The most important aspect of this record is that Cyrus and her collaborator/producer, Oren Yoel, have figured out a way to put her strongest skills out in front. “She’s Not Him” is a dynamic, melancholy love-ballad that allows Cyrus’ voice to pack some emotional heft. String and horn sections are used for subtle accents, giving Cyrus a dense, properly airy backdrop. This is a single waiting to happen.

“Younger Now” This opening title-track is the perfect way to begin the album. A slightly twang-y ocean-side reflection where Cyrus sings telling lines like, “Feels like I just woke up” and “I’m not afraid of who I used to be.” This is a song about embracing the next chapter.

“I Would Die for You” A subtle, slow-burning, earnest song that is highly emotionally-charged, this is the kind of song Cyrus was born to sing. She packs so much subtext into her performance here and truly impresses.

Four stars!