Her video backdrop, designed by Ren & Stimpy creator John Kricfalusi, and her nightmarish cast of dancing cartoon characters (Katy Perry this ain't) subtly undercuts the inevitable crotch-centricity.
Wherever you stand on sex in pop it’s harder to objectify something with a personality and a sense of humour, and Miley’s famous tongue is laughing as often as it’s lasciviously lapping.
It's hard to get upset by Miley gyrating against the bonnet of a gold Hummer for the romping hip-pop of 'Love Money Party' when there's a giant Jim Henson-esque pink bird puppet sashaying past a burgeoning neon magic mushroom horror as she belts out the marvellous diva flounce of 'FU'.
Miley has got one hell of a voice as well, displayed best on the slow burners and ballads such as 'Adore You' and 'Wrecking Ball' but just as impressive growling through the country inflections of '4x4' or the funky, hollery 'On My Own' or covers of Arctic Monkeys' Why'd You Only Call Me When You're High' and Dolly Parton's 'Jolene' among others.
There’s nothing particularly shocking here, nothing that will warp the youth - in its own strange way it's as wholesome as Montana, and not just on adorably goody close 'Party In The USA'.
What there is is something much more exciting in the long run - potential. Miley will change again, and she’s got the brains to come up with better.
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