Miley Cyrus’ “We Can’t Stop”: Review Revue

After a brief hiatus, Miley Cyrus has transformed into a sassy, twerk-happy star who enjoys hanging with her new crew — rappers like Snoop Dogg. Will.i.am, Tyler, the Creator and Pharrellto be exact. Today the singer has debuted her new single “We Can’t Stop”, a track that has a laidback summer party vibe.

Our own Sam Lansky stated “there’s something kind of brilliantly woozy about it; it sounds quintessentially California, in a cruising-lazily-through-the-streets-of-west-L.A. kind of way” — which comes courtesy of Mike WiLL Made It‘s distorted vocal samples and crooning piano melody that gives the pop song a darker edge.

Read on to see what critics had to say about Miley’s new sound.  

:: Popdust compared the track’s vibe to that of another diva: “Could this be Miley’s ‘Run the World’-esque girl power anthem? The song is completely free of any masculine mentions; her ‘home girls here with the big butts’ are shakin’ it for themselves.”

:: Our friends at SPIN crown her the “new #swag Miley,” saying “Once you get past the opening screwed vocals, the beat is aimed at a pop crossover, resembling brooding tracks produced by Alex Da Kid (as on Dr. Dre’s ‘I Need a Doctor’).”

:: Miley is no longer a Disney queen, according to MTV Buzzworthy: “‘We Can’t Stop’ hails the entrance of Miley’s totally growed-up new sound, and also the end of any teeeeny tiny trace of Disney in her whatsoever! Because did we mention ‘We Can’t Stop’ is REPLETE with NSFW references? Like, a lyric about an illegal substance everywhere you turn?”

:: Vulture sneaks in a little shade: “With a little (okay, a ton) of help from new friend Mike WiLL Made It, Miley’s newest is a party anthem that you are more likely to play over a slideshow of photos from last night’s party as opposed to at the party itself.”

:: Prefix Magazine clears up the drug references: “But she claims she’s ‘dancing with molly,’ which doesn’t make perfect sense; maybe she’s just talking about the time she went to the club with a friend named Molly.”

:: Billboard notes the song’s swaggerific attitude: “Along with Mike WiLL’s incisive beat and complementary vocal distortion, Cyrus remains fiercely defensive, praising the homegirls ‘shaking it like we at a strip club’ and later declaring, ‘It’s my mouth, I can say what I want to.'”

:: Finally, Entertainment Weekly notes that the song is surprisingly bleary for a big pop single: “[S]he’s singing ‘We all so turned up/Yeah, gettin’ turned up/Yeah yeah yeah’ on ‘We Can’t Stop,’ the first single from her own upcoming album — but the volume’s only halfway and Cyrus sounds like she was asleep right before the beat started. And yet: the song is smartly stupid and (dare I?) infectious, with follow-along lyrics — like Ke$ha on Benadryl.”

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