Miley Cyrus, “Endless Summer Vacation.”

There may be few tracks as instantly memorable as Miley Cyrus‘ latest hit “Flowers,” a slow-burn groove with an empowering message of independence and self-love. The anthemic song kicks off her eight studio album, one that was kept largely under wraps until its release.

As a whole, Endless Summer Vacation, feels like the natural successor to 2020’s Plastic Hearts. Though this time around its less about Joan Jett and Stevie Nicks and more about Miley Cyrus. These dozen tracks delve less into classic rock and more into a throwback singer-songwriter vibe.

Second track “Jaded” is calm and cool, an acoustic mid-tempo jam, Cyrus’ vocal shifting from quiet intimacy on the verses to soaring power on the chorus.

“I’m sorry that you’re jaded/ I could have taken you places/ You’re lonely now and I hate it,” Miley Cyrus sings, shifting her view on the aftermath of falling out of love.

The slow grooves continue on “Rose Colored Lenses,” a beat-heavy piano-driven  tune with an understated bluesy melody. This opening trio is somewhat of a departure for Cyrus. The majority of Endless Summer Vacation sits in more of a minor-key aesthetic, with lyrical and vocal maturity.

She recruits country rocker Brandi Carlile for shimmering acoustic ballad “Thousand Miles.” It seamlessly fuses pop, Americana and country into a tightly arranged and well delivered number. Carlile’s vocals are used only for harmonization, but they still add a lushness and meld well with Cyrus’ singing. The song even closes out with what sounds to be an accordion or harmonica riffing.

Bluesy ballad “You”  is even mellower, with sparse arrangement of keys and percussion and setting the table for the star to shine with another killer vocal.

“Let’s crash a wedding tonight/ Get drunk by the light/ And I’ll pick a fight to make up on the floor of your room/ But only if it’s with you,” she sings of shenanigans with a lover.

Endless Summer Vacation is a more subdued work. It’s not filled with upbeat pop and summery singalongs. So the title is a bit of irony. Cyrus typically keeps fans guessing where she’ll go stylistically, and this is no different.

“Handstand” serves as a sonic turning point, taking the album in a very different direction. Opening with heavy synths and a spoken-delivery intro, it shifts into a combination of spacey loops, electronic sounds and substantive beat. It feels like an interlude despite its full-length runtime. It successfully sets up the upbeat synth-driven sounds of “River.” The latter has a pulsing beat and pop hooks, but restrains itself just enough to fit within the landscape of this album.

Mid-tempo anthem “Violet Chemistry” brings things back to a sonic middle ground, but infuses electronica, which marks the second half of the album. The chorus mixes pop sensibility with funk and R&B. It has a throwback personality.

One of the album’s high points comes and goes quickly, but makes a statement along the way. “Muddy Feet” is a collaboration with Sia, again serving in a cameo roll. The song mixes a raw bluesy stomp with some of the classic rock vocal energy of Plastic Hearts. There’s a tight pop groove that offers up a commanding tone. It’s just over two minutes but it’s time well-spent.

Some of the vocal styling sticks around on “Wildcard,” which is otherwise more subdued and groove-heavy. “Island” has a fitting title; it’s a slick ballad with a heavy tropical influence. It’s easy to envision lying down on a beach and playing it through a pair of headphones.

“Am I stranded on an island/ Or have I landed in paradise?” Cyrus asks.

The record clocks out with “Wonder Woman,” a piano ballad about resiliency, being well-traveled and overcoming the ups and downs of life. It’s a beautiful and somber note to close out the record.

Follow writer Mike DeWald at Twitter.com/mike_dewald.