Cyrus tries to pull a ‘Britney’, similar to ‘Overprotected’ and the whole idea behind Britney Spears’ 2001 release with Can’t Be Tamed. The only difference is Miley is barely seventeen; Spears was not seen prancing in leotards at that age. Miley keeps it PG-13, but the image and approach to the record are unasked.  

The overall sound of the record is dance pop with guitars thrown in for measure. It is an amalgamation of electronic pop and keyboards relying on a band; it becomes a weirdly updated sort of techno. Everything the image of Hannah Montana gave to young girls, is the opposite to what Miley is doing and advocating in this album, pushing it to even adding a vaguely censored ‘sh*t’ in the background bridge of ‘Liberty Walk’. ‘Party in the U.S.A.’ and its complementary EP were a much favorable direction in her career instead of this overly done archetypal adolescent insurrection.

‘Can’t Be Tamed’ is z-grade. The cover to ‘Every Rose has It’s Thorn’ is mediocre, it sounds as if it were a cheap blipping karaoke version of the original; Cyrus utterance of the line, ‘yeah it does’ is hard to take seriously; it is dreary  and pathetic. ‘Two More Lonely People’, is listenable but one has to admit it sounds extremely similar to a western horse gallop out for adventure, and it is not a good indication.  ‘Who Owns My Heart’ is generally what one would most likely hear in an aerobics session.

‘Robot’ (among most of the tracks) replicates the lines of being set free, appearing to be applied to relationship issues. But since the album is an obvious try to get rid of the teeny bopper image, it seems more of a smack towards Disney, when she claims, ‘Stop trying to live for me…don’t make feel like I’m a part of the big machine…you gave me eyes, now I can see’; bad move if it is indeed directed towards those who set her name in the industry; it bites the feeding hand. Concerning this matter, the title is appropriate for Miley’s big mouth, which does not look out for her best interest and could be used against her when her fame clock stops ticking.  

The only worth listening in the record are  ‘Permanent December’ and the empowering ‘Liberty Walk’. The latter has meek rapping in some of its verse sections; it is an eyebrow raiser.  ‘Permanent December’ is accordingly to Miley’s age, sounding like something Ke$ha would release after a bath, intensive vocal training, a lively mood and shaken off the glitz.

Cyrus does have talent, but the ruminations of breaking-free seem forced. The sound of the record and its connotations do not go with Miley Cyrus and her voice at all. If Cyrus wanted to be taken seriously as an artist and leave her relation to Hannah Montana behind, she should have gone country.  This is not Miley Cyrus growing up, this is her trying her mom’s clothes on and looking as incongruous as the previously stated relation would. It is a frenetic jump on a trend to compete with other fully grown female artists.

It is a 44 minutes long brag about ‘taking control’, but is nothing more than major blah. Cyrus cossets in nods to not being tied up and operated anymore, but she only introduces her supposedly newly found freedom instead of actually proving it. It is a dog’s bark but not quite the bite.