Dropping a mononym as an artist is debatably a bold move. For some, it acts like flipping a light switch, as seen with Kylie Minogue. For Marina & The Diamonds, reintroducing herself simply as MARINA carved out her independence and revealed a more human side. Yet when Miley Cyrus definitively posted a scarlet-tinted Instagram photo of herself armed with the sharp caption, MILEY, fans naturally wondered what caused the shift.

Her 10th studio album, named after the lead single Bass Persuades, may (or may not) indirectly answer that question. Following the runaway success of Flowers, many pop stars would choose to double down on a smash hit; Cyrus instead opted for an experimental ninth record which she described as her own version of Pink Floyd’s The Wall. Thankfully, her latest effort is just as uncompromising.

The biggest surprise is Different Religion easily the most interesting song she has released in years. Beginning with Cyrus growling, “I’ve got my own god,” it leads into a muddy rush of industrial grunge that bafflingly teeters on a razor-thin line between Blackout-era Britney Spears and Nine-Inch Nails. Paired with a feature from Model/Actriz, it stands out as an undeniable highlight that marches into unexpected territory.

Alongside this sharp pivot, there is also a much leaner track list. With only nine songs, there certainly isn’t any room for bloat. At times it recalls the optimism of Endless Summer Vacation with the rush of love taking hold. This is especially true for Snow. Yet despite the glacial undercurrent and the haunted chant of “Together we both fall”, it doesn’t inspire the same awe as earlier tracks.

A spiralling psychedelic guitar line compliments Let’s Get Married, a dedication to Miley’s fiancé, Maxx Morando preceding their upcoming nuptials. This is easily the most human moment on the album. Evoking the best of her 2020 record Plastic Hearts, it trades the heavy emotional baggage for hope.

Yet as ambitious as Bass Persuades can be, it can be frustrating. While ballads like Orbit and Let’s Get Married hold appeal, it leaves a longing desire for more cuts that showcase her grittier side. The draw of Different Religion is that it punctuated her reinvention with a firm exclamation mark. In the album teaser, Miley heavily hinted a new rock direction playing bass to the song the entire time. One wonders; what other songs were left on the cutting room floor that could have made this reinvention far more exciting?

Thankfully Innocent Ways is one that did make the cut. Where the sun-kissed vibe of Flowers was accessible and breezy, guitar-charged electropop in the same vein as Born This Way-era Lady Gaga feels far more daring. This style feels precisely like the tone that should have dominated Bass Persuades. Ironically enough, this was produced by Kid Harpoon who has lent his golden ears to Flowers and much of Harry Styles‘ discography.

From the name of the record and the visuals, Cyrus strongly signalled that her old persona was finished. This marks the kind of reset she has navigated before; think Bangerz and the provocative Can’t Be Tamed. This time felt more purposeful and mature, suggesting a genuinely surprising shift. Instead, half of the album sags under the weight of tracks that are unusually bland. For every glitchy, sonically daring confessional like Aftermath, another song like REDLIGHTS halts all momentum. Ultimately, there is no denying that Bass Persuades is a good album, but with greater consistency, it could have been her best yet.