Miley Cyrus "Younger Now" (Toddler of a Review)

If anything, the full title should  have been "Bangerz and (s)Mash; pre-conceived notions and original impressions be dam-ned" and may have been just as successful, and still as true. Her last album, not referring to the low profile experiment, because how else could you release an album with dead petz, if not underground? The album was full of Bangerz and noteworthy collaborations, Ludacris remains one of my favorite "feature artists." There are even some somber bangers, but a lot of songs that may not possess the longevity of Bad which was Miley's intent when it came to releasing this album, one of them; to have an album that sounds just as bad arse decades later, and she still has a long way to go, but it rocks so far. One track that still stands the tallest to is "FU" and it doesn't even have its hands in the air, but that is another banger too.
The album was a catalyst, it initiated the public's severance from Miley and her old image. It may not have rewritten the book, but it started the next chapter, without question, through the occasionally contrived actions and surreal expressions of herself that were over the top, but helped reinforce her "rebirth."
This album is the fresh start that she sought after the best of both world collided and Hannah Montana was no more. While her 2013 album was nothing short of a spectacle, in sound and sight, Miley was still searching for herself after her initial childhood fame stage, this album is the true rebirth of Miley Cyrus.  Although pretension is the word that comes to mind with its initial simile in the title track, it addresses the journey Cyrus has taken since her alternative ego's inception, and the fame that came along with it; she seems to have reconciled with what came of it, even if she was not prepared or pleased with some of the steps taken with where she is today (creatively, musically, or careerwise). She was able to reboot her career, but in a more mature manner.
One can fall in love with someone else without knowing their name, just as one can fall in love with a song without knowledge of the same. That happened before going to "Malibu," yet in my heart I knew it was Miley, and this has happened before with Bowie and some of his music. As I read more into the song, I love it even more, just not as much a Miley loves Liam; or loved for that is in the air.
I wouldn't call myself a rainbow, but I would like to be a part of "Rainbowland," a utopia with its own gold concerning society, no longer Them vs. Us, but Together We "where we're free to be exactly who we are," cast aside the judgement and fear, but leave the scars. How surreal the prospect seems, but I agree, actualization is possible, with action, and open mind it can be more than just in dreams. It may be the closest to a duet with her Godmother and Matriarch of Dollywood, but is a pleasant vision of what could be, and the candid call added some joviality.
When you found who could be the love of your life, that love will be expressed in various ways, and even in various tones, because when we love them unconditionally, we love them through their most difficult manners and moods and at their best, of course; through the heartache they may haphazardly or intentionally cause ( because a person can be loved to the point it hurts.)  That is what these songs are about. The first of which contemplates a week without that love of her life, now , who could still be her soulmate, and the pain from her heart stomped on the ground does not overpower that yearning for that love, expressed in sound.

 The following two songs could be sisters, writing about the same subject with similar feelings, but with polar approaches. The tragedy of "I Miss you so Much" lies in both lyric and accompaniment aspects, and is of love uncertain. while the comedy lies in "I'd Die For You." A love that powerful can drive one to madness, or selfless martyrdom, but when the significant other is "better than any childhood dreams" which can be the most wondrous of those procured from human beings, it sounds like a love worth it all. The sound could be classified as upbeat faux-k or folk, depending on what your level of snobbery may be, but it really suits the song.
Some songs have me "Thinkin'" too much, while others not enough,  While it may appear to be somewhat of a gray sheep on either album, I cannot help but think of Bangerz when thinking of this one. The iteration of the final word on each chorus line accentuates a chorus's repetitive nature and sounds like a future hit. The selfless and sacrificial love may be in jeopardy, but its true, a relationship doesn't add up to much, much, much, much, if it does not include trust, trust, trust, trust.
The struggle of living or describing what is beyond your reach can place you in a "Bad Mood," and while its production is following a trend heard in the last few tunes, the same can be said for the love regarding her significant other, because unconditional love can only last so long when it is unrequited or sparsely reciprocated with something other than torment.
The lyrics say it best "to make somebody stay , you gotta love someone," but if you truly love them, let em' go. As counterproductive as it sounds, it can be effective, because one can find their significant other too early in life. The lyrics remark how Miley immediately knew the intended recipient wasn't the one, but nothing ever stops her from forgetting or moving on; slightly baffling because there seems to be some baggage or another force doing just that, and if it is a retrospective relationship she is referring to, ok, but if its the yo-yo that seems to involve Liam, ok? All I know is that it would "Be a cold day in hell before I'd ever be your wife (that's right)." That and the spunk on this track