Ending with an alternate version of its opener and lead single could’ve been an interesting and provocative move for Bass Persuades, if the redo provided a notably different and unexpected take on the title track. Unfortunately, “Bass Persuades Remixx” doesn’t do enough to contrast itself with the original (or to earn that second “x” in “Remixx”) — instead just thinning out and harshing an arrangement that was hardly overly intricate or lush to begin with, and upping the pace to the point where Miley’s vocals sound needlessly rushed.

A gently swaying groove and ABBA-like melody starts off “Neon Lights” on the right foot, and Miley’s vocals mix fairly well with longtime collaborator Andrew Wyatt. But the song doesn’t quite know where to go from there, and loses itself almost completely in a pair of breathy spoken bridges in which Miley and Wyatt flirt cartoonishly (“Some people say I’m creepy… but others think I’m just right.” “No, you’re perfect! So perfect!”), like an inside joke we’re clearly not in on.

“REDLIGHTS” struts into the room like it could be the next “Flowers,” floating on an easy slow-disco groove and billowy ’70s strings, just like that indomitable pop smash did three years earlier. But it’s missing a similarly sized vocal hook — or even an easily grasped lyrical conceit — and its allure is undone slightly by some of the album’s clumsier lyrics (“Truth is all we need/ And also what I fear,” “Anywhere you go/ I will also go.”)

The first ten seconds are jaw-dropping with an engine-revving guitar squall giving way to her proclamation “I’ve got my own God/ He drives a fast car,” while guest backing band Model/Actriz provides appropriately spiky industrial punctuation. It’s a lot to live up to, and while intriguing ideas are present throughout, somewhat messy execution holds it back as the chorus swerves into more familiar alt-pop territory.

The opening “Let’s go,” insistent beat, and menacing synth riff reminiscent of Real Life’s “Send Me an Angel,” make “Bass Persuades” close to being a classic Miley lead single. However, it falls short due to a somewhat aimless chorus that feels anticlimactic despite its potential for greatness.

This electric piano ballad showcases some of Miley’s strongest vocals. Lyrics like “When you look at me it’s primal/ When you wave to me it’s tidal” add personal depth while atmospheric flourishes enhance its emotional stakes.

The unofficial closer on the album presents another dizzy-sounding ballad with twinkling synths that builds into a heavier mix towards its end. Its intriguing disquieting ending leaves listeners wanting more.

The most obvious hit on Bass Persuades, potentially serving as its second single alongside a glamorous music video. While not one of its more challenging cuts, it remains satisfying as a pop song.

Certainly destined to spark conversations about her relationship with her sister through vivid lyrics over an electroclash beat. This track will likely be one listeners want to replay immediately.

Following “Orbit,” “Aftermath” begins like another ballad but quickly transitions into an energetic track with climbing synths that highlight Miley’s vocal prowess.