With her acoustic guitar safe in its case, Miley is back in the club—wiser, but still with a thirst to party. Her tone across the six tracks strikes a balance between cause and effect. Miley processes feelings of confusion when partying isn’t fun anymore on “Unholy,” while producer Andrew Wyatt of Miike Snow gives the track a nocturnal R&B vibe. The Wu-referencing/Ghostface-guesting “D.R.E.A.M.” tries to make sense of waking up with strangers and new tattoos before succumbing to nihilistic pleasures (“Always last to leave the party/Drugs rule everything around me,” she coos on the chorus). The Mark Ronson-produced “The Most” is this album’s “Wrecking Ball,” a beautiful track that highlights her Nashville roots. The turnt-up Miley returns on two tracks: “Party Up the Street” reconnects with Bangerz architect Mike WiLL Made-It, adding a lovely vocal assist from Swae Lee. And the centrifugal force that is “Cattitude” is a straight flex out of her 2013 playbook. Her line “I love you, Nicki, but I listen to Cardi” will certainly raise some sculpted eyebrows. Miley, what’s good?