Miley Cyrus has had a busy and controversial year, to say the least. In the last seconds of her stint at this year’s VMAs, Miley hurriedly announced that “Miley Cyrus & Her Dead Petz” would be released for free online on her independent record label “Smiley Miley” via Soundcloud.

The 92-minute odyssey is, on the surface, a perplexing journey through Cyrus’ mind. If “Can’t Be Tamed” was the first crack at Cyrus’s newly minted promiscuous stage persona, it must be said that “Bangerz” was only a glimpse into the reality of Miley Cyrus, as the album’s content was still largely controlled by a record label and polished for pop radio. However, “Dead Petz” explores themes of existentialism, concern for the environment and experimentations with drug use, lesbianism and, most importantly, a new sound. Enlisting the help of Flaming Lips frontman Dennis Coyne and Mike Will Made It, the mastermind behind “We Can’t Stop,” Cyrus crafted an album that dives headfirst into psychedelia. Coyne’s influence on the album is overwhelming, touching every note with his signature dreamy stylings.

Long-time fans of Cyrus will be confused and disappointed by “Dead Petz.” Gone are the pounding beats that dominated Cyrus’ biggest hits, and gone are the soaring catchy choruses that infected our minds. They are replaced by dreamy instrumentals and floating, distant vocals that are vaguely reminiscent of an early Lana Del Rey.

By freeing herself from longtime collaborators such as Dr. Luke and Rock Mafia, Miley suddenly finds herself with a massive amount of breathing room. Fans who are looking for more of “Wrecking Ball” and “Party in the USA” will probably hate this album, but luckily, releasing the album for free means that Cyrus no longer has to worry about a commercial failure. In fact, Cyrus’ decision to not charge a fee for the album could be interpreted as her own generosity and distaste for capitalism, but it looks more and more like a smart marketing plan when one realizes how unfit the album is for Top 40 radio.

Lyrically, “Dead Petz” is not the strongest material in Cyrus’s repertoire, and her constant references to drug use and sexual exploits come off as obnoxious and forced at times. The album is also riddled with entry-level existential statements — some eye-opening, others mundane, such as with this line: “the sun insists on gladness / but how can I be glad now my flower is dead” (The Floyd Song). Regardless, because the lyrics are not especially eloquent and well-formulated, we see a more genuine, private view of her personal thoughts.

A version of this article appeared in the Monday, Sept. 14 print issue. Email Tye Musante at [email protected].