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Yahoo
24-03-2025
- Entertainment
- Yahoo
Miley Cyrus announces ninth studio album, 'Something Beautiful,' coming out in May
Pop star Miley Cyrus made a big announcement on Monday morning. Her ninth studio album, "Something Beautiful," will be released on May 30 via Columbia Records. "The album features 13 original tracks and is executive produced by Miley Cyrus and Shawn Everett," it said on Cyrus' Instagram. Everett is known for his previous work with Kacey Musgraves, Alabama Shakes, The War on Drugs, The Killers and Julian Casablancas. "Captured by renowned fashion photographer Glen Luchford, the album artwork features Miley Cyrus draped in archival 1997 Thierry Mugler couture, a striking nod to the album's bold aesthetic and visual storytelling." "Something Beautiful" follows the 32-year-old Tennessee native's record "Endless Summer Vacation" in 2023, which included hits "Flowers" and "Thousand Miles" with Brandi Carlile. In 2020, Cyrus released her album "Plastic Hearts," and in 2019, "She Is Coming." Since her most recent record, Cyrus sang alongside Pharrell on the track "Doctor," collaborated with "Beyoncé" on II Most Wanted" and dropped her single "Used to Be Young," which was also produced by Everett. While details about the upcoming album are still largely under wraps, Cyrus' social media accounts and billboards in Brazil, the Netherlands and Argentina have been hinting at the upcoming record announcement. Cyrus also told Harper's Bazaar that the upcoming release was inspired by Pink Floyd's 1979 album "The Wall." 'My idea was making 'The Wall,' but with a better wardrobe and more glamorous and filled with pop culture,' she said. To preorder "Something Beautiful," fans can visit or text 310-288-5120. Audrey Gibbs is a music journalist at The Tennessean. You can reach her at agibbs@ This article originally appeared on Nashville Tennessean: Miley Cyrus announces release date for 'Something Beautiful' album
The Independent
20-02-2025
- Entertainment
- The Independent
Sam Fender's message gets lost amid hazy production on People Watching
Of late, Sam Fender has seemed to be 30 going under. As he was rocketed into the head-spinning, highly pressurised sphere of festival headline sets, hometown stadium shows and voice-of-a-generation expectations by the platinum success of his 2021 second album Seventeen Going Under, personal cracks became deep fissures. In 2022 he cancelled remaining dates on a US tour to focus on his mental health. Since then, he's played short tours and marquee events, maintaining his momentum without pushing himself too hard. And such, three years later, is the sound of his third album, People Watching. Fender's fame is built on a (slightly questionable) rep as the North Shields Springsteen, drenching Tyneside trials and tenderness in big sky bombast. Now, to further submerge his Geordie soul in the dusty, top-down sounds of heartland USA, he's turned to The War On Drugs' Adam Granduciel as a key co-producer, and it's a disaster. Granduciel is renowned for summoning a hazy, indistinct, narcotic half-memory of the sort of American drivetime rock that Fender aspires to, and the poor lad gets swallowed up by it. The opening title track is by far the brightest and liveliest here, telling of the death of Fender's beloved mentor Annie Orwin in tones of synth-rock glory. But Granduciel's dreamlike sepia-rock approach gives the track the slick, formulaic feel of 'The Boys of Summer' rather than any E Street punch. And it gets much duller from there. As much as Fender bares his tattered heart and sketches the pride and poverties of his country and community as artfully as ever, the songwriting plods more than it ricochets, while the floatation tank production cushions and smothers his passion, highlighting any existing blandness. 'Nostalgia's Lie' sets his hometown memories in a glossy folk-rock aspic, more Blunt than Boss. 'Chin Up' tackles the realities of drug addiction while sounding like 'Wonderwall' gone damp. Beyond Oasis and The War on Drugs themselves, the sonic mood board of tracks such as 'Arm's Length', 'Crumbling Empire' and the religion-baiting 'Little Bit Closer' contains The Waterboys, Hothouse Flowers, Foreigner, Bryan Adams, maybe The Killers if drained of all personality and pizzazz, leaving only the pomp. These are the sort of expensive, water-treading songs that AI could be writing tomorrow; in fact, were you to casually mention 'The Cars' to a friend while it was playing – and well you might – you wouldn't be surprised if the lyrics changed to try to subliminally flog you a Kia. After a near full-album dip, things pick up significantly in the final third. 'Rein Me In', concerning a drunken breakup, is built around some vivifying junk piano and Coldplay arpeggios. The darkly fascinating 'TV Dinner' stands out like a Guggenheim in a swamp, with its sci-fi synth sizzle, shivering poetry, austere orchestrations and trip-hop edge. 'Something Heavy' is a rare display of country pop catchiness. And the record closes with 'Remember My Name', a moving and heartfelt tribute to Fender's lost grandparents on which he contemplates mortality backed by a sensitive and resonant colliery band. There's nothing here with anything like the gritty thrill of a 'Howdon Aldi Death Queue', but when Fender's honesty, belief and anguish cuts through the cloying haze, there's still promise. Otherwise, everyone's just killing time.
