What is there to say about Canadian-born, punk-rock-pop artist Avril Lavigne that has not been said already? Known for her memorable hits including “Sk8ter Boi” and “Girlfriend”, the punk princess has been somewhat struggling in keeping her name relevant over the last few years. Following the lukewarm reception to her gorgeous, somber last effort, Goodbye Lullaby, the singer has released a self-titled new album which truly embodies her essence as an artist.
The first thing about Lavigne that jumps to the forefront of her timeless image is her refusal to change with or conform to the ever-changing pop crowd around her. While Katy Perry is getting all “prismatic”, while Britney is making everybody work and Gaga is popping art everywhere she goes, Lavigne remains the same angsty, eyeliner-wearing, pissed off teenager she was when she stepped on the scene more than a decade ago. Sure, her music may be what we have already come to expect, but at least she does it pretty damn well.
Although reception and promotion for the album’s official second single, “Rock N Roll”, mostly got overlooked, the brilliant, bratty, guitar solo-driven pop track was a shining effort for the artist, similar to her past releases. Lavigne’s vocals are alive and kicking, enough of the depressing material, as they lead up to a soaring chorus that has seen nothing but critical praise from the music world.
The lead single, “Here’s To Never Growing Up”, is the anthem we thought the artist would have released 10 years ago, but it seems right popping up at this point in her life. While it is a carefree track for the rebellious, for the out of control teenagers, it really does sum up the type of artist Lavigne is. “Singing Radiohead at the top of our lungs,” is a staple moment in 2013 and it brought the singer back to the spotlight.
“17”, a track which has been compared to Perry’s “Teenage Dream” by many publications, continues the album’s theme of the desire to never grow up. The Peter Pan syndrome if you will. The love song does bare some similarities to past Bonnie McKee-penned creations, it would be perfect for a summer beach date, but hearing Avril sing the lyrics is pleasantly surprising and one of the album’s brighter moments. Next single?
Another summer, school’s out anthem comes in the form of “Bitchin’ Summer”. While other lackluster tracks with the same message (cough “This Is How We Do” cough) come off annoying enough to cast off to the side, Lavigne’s hip vocal performance and ability to remain ageless allow this sassy romper to become a timeless classic. It may have fared better in July, but no reason to not blast in loud in December.
When the pop/rock artist married Nickelback frontman, everyone cringed. When he was listed as a featured guest on the album, everyone ran for the hills. However, “Let Me Go” is not the terrible mid-tempo ballad we all expected. The song details the relationship between the two musicians, and even though their voices are forced to find some chemistry, it remains a beautiful, somewhat tragic, addition to the effort.
Lavigne proves she’s no innocent, inexperienced 17-year-old on “Give You What You Like”, a song that shows the artist looking for sexual fun to cure apparent loneliness. With subject matter that is usually portrayed as a raunchy good time, Lavigne’s vocal performance paints a more somber, depressing picture. “When you turn off the lights, I get stars in my eyes, Is this love?,” she sadly asks on the very grown up effort.
The only other featured guest, shock artist Marilyn Manson, makes his welcomed appearance on the chaotic, 80s hard rock-inspired “Bad Girl”, where Lavigne gives her best shouting performance as Manson supports with growling and snarling in the background. Yeah, it stands out from the crowd. Yeah, it is slightly different than the artist’s previous work. But that’s what makes it intriguing and exciting. Perfect pairing.
Sometimes never growing up could be a very bad thing, as Lavigne showcases on the Ke$ha-sounding, nauseating “Hello Kitty”. The baby-like vocals on the chorus, the immaturity on the verses and the unnecessary EDM-styled production creates a mess that never seems to find its footing. Some devoted fans may find a liking for the unexpected experiment, but let’s just sweep this one under the rug, shall we?
“You Ain’t Seen Nothin’ Yet” is a cute, uptempo creation detailing a young romance, maybe one in Lavigne’s own life, but certain portions of the songwriting keep the track from becoming one of the artist’s most memorable moments. “Your face, could stare at it for hours, can’t wait, to see your superpowers” are lines too amateurish for the singer, only there to cause an overdose of sugary confection.
Don’t ask me why or how, but “Sippin’ On Sunshine” recalls past releases from Perry and Miley Cyrus. There’s something about the adult, fun-in-the-sun vibe that would help the track excel if ever released as an official single. The carefree nature is commendable, the songwriting is on point and not too serious, and the production is crisp and only helps get its light, breezy message across to the listeners.
The artist seems to be mending a shattered heart on “Hello Heartache”, a song with a message similar to Michelle Williams' tragically ignored “Hello Heartbreak”. It’s not a four-to-the-floor, dance floor-ready effort, but a dramatic telling where the artist’s pained vocals are thankfully put on the spotlight. The song would have fit perfectly on the artist’s early releases, but it’s good to hear real emotion from Lavigne, queen of sorrow.
Lavinge continues to challenge herself by testing the waters of different genres. The country-inspired “Falling Fast” has crossover potential even though she comes off vocally as a Taylor Swift wannabe, which she would slap me for even saying. Sorry. The artist excels when production is scaled back, when her voice shines through, it’s no different this time around. It’s a good effort, nothing amazing though.
Closing track “Hush Hush” is an example of saving the best for last. In a straightforward, piano-driven ballad, Lavigne goes through many thoughts and emotions as pained vocals tell a saddening story of love and regret. “So go on, live your life, so go on, and say goodbye,” she sings on a track that needs no complicated metaphors. Its simplicity is what makes it a highlight, a great way to end the album.
Avril Lavigne’s self-titled fifth studio album is shockingly the one that probably sums up her career and artistic style the most. It is a shame it will be overlooked. While she stays true to her rebel without a cause, rocker teenager image on most of the track list, she shows appreciated growth by trying out new sounds, whether they are a home run or weigh down the project. Her timeless appeal and gorgeous, in-your-face vocals are a few characteristics that carry the new album. Not every track deserves a great deal of applause, but the album may unfortunately be one of the underrated efforts of the year. It receives an 88%.
Tracks to Hear: "Here's To Never Growing Up", "17", "Give You What You Like" and "Hush Hush"
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