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Avril Lavigne - Avril Lavigne
Genre: Pop
(Review originally posted on Sputnikmusic under my old name, ASnideReturns)
Genre: Pop
(Review originally posted on Sputnikmusic under my old name, ASnideReturns)
When an artist releases a self titled album that isn’t a debut, it usually means a reformation of said artist’s musical perspective; a chance to renovate their image with a bold concept or a new style. Avril Lavigne decided to instead say “Hey look, it’s a middle finger, it’s so I don’t have to waste my breath saying fuck you.” Avril instead took all of her best aspects, amalgamated them with her already solid songwriting abilities and created arguably one of the most daring and infectious pop albums of the 2010’s, if not the 2000’s as well.
The album can be divided into three types of songs, infectious, introspective and over the top. Every song here has each of those qualities, but in every one a single trait is most dominant. The infectious tracks focus on utilizing every available musical tool in their arsenal to create an experience so catchy you’ll completely ignore the lack of a deeper meaning. “Rock N Roll”, “Here’s To Never Growing Up” and “You Ain’t Seen Nothin’ Yet” are all perfect examples; they are all comprised of to the floor bombastic pop arrangements which all reach their climax in their respective choruses. This approach doesn’t stop the songs from adding in a little flavoring however, as the Guns n’ Roses inspired guitar solo in “Rock N Roll” helps to break up any monotony and keep the listener hooked. Every one of these songs has a different style of production to better bring out their individual qualities. Luckily the juxtaposition of acoustic guitars with her poppier side hasn’t faded, as they’re fully present in these songs. Her voice is perfectly adaptable to the varying tempos as well, bringing out multiple vocal tricks to enhance the experience as well. Experimentation isn’t the name of the game on these songs; that delectable duty is left up to the other tracks on the album.
“Singing Radiohead at the top of our lungs, with the boom box blaring as we’re falling in love.”
- Here’s to Never Growing Up
The experimentation on this album’s more unorthodox tracks is a refreshing breather in a genre dominated by rehashes. “Hello Kitty”, “Bad Girl” and “Bitchin’ Summer” are all examples of tracks that push the envelope for the first time in her career. Whether it’s the wildly cheesy Japanese homage in “Hello Kitty” or Avril’s portrayal of light bondage as normalcy in “Bad Girl”, this album without a doubt throws things in your face that you can’t expect.
”Choke me because I said so, stroke me, feed my ego.”
- Bad Girl
Marilyn Manson’s vocal cameo on “Bad Girl” is the most solid that he’s done in years, even incorporating some distorted harsh vocals into the mix. The dubstep hook in “Hello Kitty” is downright addictive and the rap verse in “Bitchin’ Summer” is unexpected and flows rather well. They’re not meant to cause controversy like so many pop artists attempt to do, they’re meant to display the controversial as something to be expected in modern society.
Avril reveals her soft core on the introspective tracks on the album, “Let Me Go”, “Give You What You Like” and “Falling Fast” are all examples of tracks that are much more personal. The songs make use of subdued clap style beats meshed with either light acoustic picking or delicately produced key work. Avril herself gives her best vocal performance on these songs, going into her higher register and showcasing a greatly improved falsetto in songs like “Give You What You Like.” The lyricism is far more specific than on her last releases, actually applying to real events in her life; “Let Me Go” is her farewell to ex-husband Deryck Whibley of Sum 41 fame and her way of finally coming to terms with her past and letting go of any inhibitions that would keep her from living her life.
"I know you feel it too."
- Falling Fast
In conclusion, this pop album has everything one could look for in the genre all nicely wrapped up in 16 tracks. This is Avril saying that it’s time to move on, time to realize what I can actually do. Closing in on 30 years old now, a new decade of her life is about to start, and hopefully the energy and vibrancy displayed here will carry on into her future works.
The album can be divided into three types of songs, infectious, introspective and over the top. Every song here has each of those qualities, but in every one a single trait is most dominant. The infectious tracks focus on utilizing every available musical tool in their arsenal to create an experience so catchy you’ll completely ignore the lack of a deeper meaning. “Rock N Roll”, “Here’s To Never Growing Up” and “You Ain’t Seen Nothin’ Yet” are all perfect examples; they are all comprised of to the floor bombastic pop arrangements which all reach their climax in their respective choruses. This approach doesn’t stop the songs from adding in a little flavoring however, as the Guns n’ Roses inspired guitar solo in “Rock N Roll” helps to break up any monotony and keep the listener hooked. Every one of these songs has a different style of production to better bring out their individual qualities. Luckily the juxtaposition of acoustic guitars with her poppier side hasn’t faded, as they’re fully present in these songs. Her voice is perfectly adaptable to the varying tempos as well, bringing out multiple vocal tricks to enhance the experience as well. Experimentation isn’t the name of the game on these songs; that delectable duty is left up to the other tracks on the album.
“Singing Radiohead at the top of our lungs, with the boom box blaring as we’re falling in love.”
- Here’s to Never Growing Up
The experimentation on this album’s more unorthodox tracks is a refreshing breather in a genre dominated by rehashes. “Hello Kitty”, “Bad Girl” and “Bitchin’ Summer” are all examples of tracks that push the envelope for the first time in her career. Whether it’s the wildly cheesy Japanese homage in “Hello Kitty” or Avril’s portrayal of light bondage as normalcy in “Bad Girl”, this album without a doubt throws things in your face that you can’t expect.
”Choke me because I said so, stroke me, feed my ego.”
- Bad Girl
Marilyn Manson’s vocal cameo on “Bad Girl” is the most solid that he’s done in years, even incorporating some distorted harsh vocals into the mix. The dubstep hook in “Hello Kitty” is downright addictive and the rap verse in “Bitchin’ Summer” is unexpected and flows rather well. They’re not meant to cause controversy like so many pop artists attempt to do, they’re meant to display the controversial as something to be expected in modern society.
Avril reveals her soft core on the introspective tracks on the album, “Let Me Go”, “Give You What You Like” and “Falling Fast” are all examples of tracks that are much more personal. The songs make use of subdued clap style beats meshed with either light acoustic picking or delicately produced key work. Avril herself gives her best vocal performance on these songs, going into her higher register and showcasing a greatly improved falsetto in songs like “Give You What You Like.” The lyricism is far more specific than on her last releases, actually applying to real events in her life; “Let Me Go” is her farewell to ex-husband Deryck Whibley of Sum 41 fame and her way of finally coming to terms with her past and letting go of any inhibitions that would keep her from living her life.
"I know you feel it too."
- Falling Fast
In conclusion, this pop album has everything one could look for in the genre all nicely wrapped up in 16 tracks. This is Avril saying that it’s time to move on, time to realize what I can actually do. Closing in on 30 years old now, a new decade of her life is about to start, and hopefully the energy and vibrancy displayed here will carry on into her future works.
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