After all the stylistic shifts that have defined
Miley Cyrus
' career, on
Plastic Hearts
she reaches a balance -- but not a compromise. On
She Is Coming
, her wild-child antics felt like an equal and opposite reaction to
Younger Now
's twangy contemplation. This time, she doesn't go to either extreme:
' mix of polished pop, country heart, and 1980s rock edge builds on her image instead of taking a wrecking ball to it. Once again, well-chosen collaborators help her set the stage for this era. The album's creative team included
Mark Ronson
, a producer who's as savvy and versatile as
Cyrus
herself, and
' songs are full of stylish, witty details.
Ronson
and company get just the right gated drums and neon synth washes on songs like "Gimme What I Want," where the stomping beat harks back to
Animotion
's "Obsession." Since the beginning of her career,
' rock-tinged moments have been among her strongest, and
is no exception. It's no surprise that "Midnight Sky,"
' deeply affectionate homage to the tough-girl cool of
Stevie Nicks
' "Edge of Seventeen," became one of her biggest hits. It's joined on the album by "Night Crawling," a duet with
Billy Idol
that captures the over-the-top, black and red leather sexuality of his best-loved singles so convincingly, it's almost uncanny. By comparison, the
Joan Jett
collaboration "Bad Karma" feels almost subdued, yet the heat she and
generate is undeniable, and
Angel Olsen
's guitar solo helps propel it to standout status. "Prisoner" is another highlight, with
Dua Lipa
's cool tones providing the perfect contrast to
Miley
's raspy warmth.
' quieter moments, like the pedal steel-laden power ballad "High," offer some of
' best vocal performances in a while, and feel just as true to the album's spirit. Similarly, "Golden G String," a contemplative synth-country mini-memoir, feels very on-brand even as it reflects her growth as a songwriter and singer. Passionate and self-aware,
is easily the finest incarnation of
' music yet. ~ Heather Phares