Avril Lavigne – Metro
May 6, No touching! Avril Lavigne snubs fans with awkward rule at world's cringiest photocall. AFTER we caught a glimpse of her cringetastic Hello. Avril Lavigne thinks the theory that she died in is just as weird as you do as fully accepted she was dying when she was left bed-ridden after her tour. . Truly by keeping my spirits up, having goals to reach and a purpose to live for, 'The get-well messages and videos they sent touched me so deeply and. Mar 23, THE BAD: AVRIL LAVIGNE. During Avril Lavigne's tour of Brazil, fans could pay $ for the privilege of hanging out with the pop-punk.
As troubling as this record is, in Eminem's discography, this may be one of his least controversial and most well-balanced records.
At this point, you know what you are getting when you get one of his records. There are still plenty of surprises. If he shocks for the attention, he needs to stop. If he wants real "Rap God" status, he needs to drop the persona more often. At this point, the forced anger is too easy. Pushing people's buttons is too simple. After all these years, he has proven that he's got the lyrical skill but needs to move on. Believe it or not, "The Marshall Mathers LP 2," like its predecessor, "Recovery," makes baby-steps towards a brighter future.
Nagging ghosts from the past still remain, however, which may not be quite the intension of the backwards-looking title. As much as this album recalls Eminem's classics and classic hip-hop in general, it also brings up some of his worst tendencies. Nevertheless, it definitely is a loaded listen which will promote discussion. These were dangerous party albums that played with noise in an inventively fun way, bending samples into new context and finding a cross between dancehall-reggae and a Bollywood-infused style.
If there is one thing that the mainstream needs, it is challenging records. And "Matangi" is definitely it. You know, "Bad Girls. Other than a home for "Bad Girls," what "Matangi" offers -- that should please some and frustrate others -- is some chaotic sampler-play. There are more high-speed samples looped into the mix than ever before.
The kind of freak-outs that with the wrong crowd could easily clear the room. Casual listeners not knowing what to expect, may be taken aback by this and consider it noise. Those of us who appreciate sonic experimentation, will enjoy it.
This is by no means a conventional or safe record. It isn't without its missteps, though.Avril Lavigne Charges $400USD For Awkward, No Contact Meet-And-Greet & Photos With Fans!
In fact, it sounds like M. This is a b-side at best, but the rest of the record makes up for this track's weakness. She's more of a rapper here than ever before. Consider the infectious "Boom Skit" which should've been fleshed out into a full-fledged track and not left as a mere interlude, or the previously-mentioned "Bring The Noize," where she claims to be "an overweight, heavyweight, female Slick Rick.
The fact that she names a track, "Y. A," no doubt as a tongue-in-cheek response to Drake's "Y. O" is pretty hilarious. The album has a few smoother moments, too, like "Know It Ain't Right" and her track with the Weeknd, "Exodus" and its bonus remix "Sexodus.
This is going to have as many fans as it does detractors, but ultimately, it is a record you need to listen to at full-blast with the lights turned off. It is a whiling mix of sound, tossing an electro-punk attitude against a dancehall backdrop. It sounds like your most adventurous art-school friends suddenly switched their medium from visual to audio. The result is a visceral collage. In truth, there are only three songs worth going back to, and no they aren't "Complicated" or "Sk8er Boi.
A video was made and it is on YouTube, but it is listed as having never been released. Back incritics often made note that at 17, she seemed much younger due to her bratty image. She just turned 29 and nothing has changed. She's still sporting the image of a brat. While the song is catchy, it is horribly written and she should've progressed way beyond material like this years ago. But the album continues in this vein with the single, "Here's To Never Growing Up" which, frankly hits the problem a little too hard on the nose.
The song's verse portion even recalls "Complicated. And her repeated lyrical refrain of "singing Radiohead at the top of our lungs," makes you wonder if she's actually ever listened to Thom Yorke and his crew or if she just decided to toss in the reference just to "let us know" that she's "still Rock N Roll.
Of the opening three tracks, this one has the most gumption, but it still is a rather weak grab. And then there's "Bitchin' Summer," a song about being out of school and "hanging out in front of the liquor store," complete with an auto tuned rap break.
This is as sad as it is calculated. But this would have been just as sad if she'd released it when she was " She's been stumbling through her last few albums fueled by an empty-pop sugar-high. It really should not have gone this way for her. She finally gets a decent song on "Let Me Go," but her husband, Nickelback's Chad Kroeger, comes in and cheeses it up.
But who can blame him? The guy co-wrote most of this album with her. Of course he is going to want in on one of the best songs. He unfortunately brings it down. As the tempos slow, things get less juvenile and slightly more interesting.
This is a rather sleazy song, but it is way more interesting than the shallow stabs at teen pop. At least there is some sort of grit. It's not just a middle finger.
But from there, things get worse, from the groan-inducing growl and strut of "Bad Girl," to the horrible attempt at dubstep on "Hello Kitty. Seriously, Avril once more potential than this record lets on. This should've been the blueprint Avril followed instead of the youth-chasing mayhem.
Closer, "Hush Hush" solidifies that Avril is better with softer songs. The ballads here are better written and don't have the sincerity of a bumper sticker, like the up-tempo numbers.
The album on a whole fails because the bubblegum attempts lack any sort of grounding.
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They are all attitude without any sort of real grit. Listening to the ballads, this could've been a very different record. Maturity isn't all bad, and Avril needs to grow up. Once she embraces her age, stops the bratty posing, takes the zealous production down a notch and gets better songs, she might have a decent album. That may sound like a lot, but she has a really clear voice when it isn't drowned in effects, and over the years she's proven she can handle material with edge.
The team who helped her make this record didn't do her justice. There comes a time to leave the kids' table and join the grown-ups. It doesn't mean you have to stop having fun. He could be this generation's Christopher Cross, igniting both the award community and lite radio a few years back with his omnipresent hit, "You're Beautiful.
A few turns to the left and he could be in the same grouping as Damien Rice or David Gray. So, while on the surface his lean towards heartfelt love songs, his polarizing, nasally voice that sounds like that of a long-lost Gibb brother and his tendency to chillingly, unnervingly stare at the camera see the album cover above may turn some people off, there may be a decent songwriter when one just examines the music.
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When opener, "Face The Sun" rocks out a little in its middle section, it is a surprise — a little hint of edge. And while "Satellites" sounds as if it was crafted with pop-radio in mind and like a shinier, sleeker banjo-infused answer to Ed Sheeran or Mumford and Sons, you can imagine that if the production were taken down a few notches and the song was stripped down to its essence, it might sound better.
Maybe Blunt stands out as an oddity because his kind of sentimentality isn't heard as much these days. His brand of song-craft would've done better in the AM radio world of the '70's where acts like Bread and Stephen Bishop thrived. That's the feeling one gets listening to "Bonfire Heart. Again, with the handclaps and the "whoa-oh-ohs" in the chorus, he hits you over the head that this is meant to be radio gold, but there is a real song in there, so these flourishes don't distract.
It is available in both a regular and an acoustic version on the record and it is a moving piece of songwriting written about a celebrity who is watched at afar from a fan's perspective as she takes a downturn and circles the drain. Somehow, Blunt's work seems to frequently and perhaps accidentally approach this stalker-ish terrain, but such tales of voyeurism may be his forte.
They definitely draw the listener in. This track is a better example of his work than "You're Beautiful," even if he never lives that song down. The rest of the album is full of heartbroken characters, from the apologetic and jilted groom in "The Only One," to the accepting and still apologetic protagonist watching his ex move past him on "Always Hate Me.
Like "Satellites," "Bones" aims for some sort of universal, inspirational expression of pain and loneliness. It doesn't work as well as the earlier track.
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And "Postcards" comes off like Jason Mraz or Train at their most syrupy and insipid. But ultimately, "Moon Landing" shows Blunt as a scattered artist with potential. When he shines, he beams. When he sinks, he does so with a thud. He seems to favor empty sentimentality when his songs that tell a story showcase his work better.
Blunt plays both sides of that fence, which can make him a frustrating writer. If you look beneath the surface, his writing sometimes pays off. It's an uneven, but promising record. The picture itself is bothersome. It's the opposite of glamorous or sexualized. She looks more sad and vulnerable than anything. But, it's an arty move on her part and frankly one I'm amazed her label, Capitol agreed to. Considering the year old has been gaining buzz for years based on her EPs, it is remarkable that "Night Time, My Time," is actually her official debut album.
She grew up around the spotlight, being a family friend of Michael Jackson. Much has been made of that association, but although her album is full of eighties pop references, none of them recall Michael in the least.
Her sound is closer to an eighties electro-pop glory of groups like Pretty Poison or T'Pau with a slightly bummed-out shoegaze sheen. It's shiny pop with a darker undercurrent. Over her brand of synth-pop, layers of guitars add some texture, making her an interesting bridge between pop and indie rock.
Indeed, if Miley Cyrus was trying to create a "Miami Vice"-like backdrop on her album, "Bangerz" this album easily bests her feeble attempt. But songs like "24 Hours" and the infectious single, "You're Not The One" not only recall the eighties, but they also come out of a world after the "Drive" soundtrack made the eighties-pop-influence cool again.
But this isn't necessarily a straight-ahead pop album either. It has enough fuzz to place in the alternative and indie-rock realm.
Ferreira is set apart from others in the pop world because she can actually sing. As affected as the instruments are, her voice is out in front of the mix.
When she sings, her lyrics seem honest. This doesn't play like a pose. With all the retro influences combined, I don't think I've ever quite heard anything quite like "Omanko" before, where Ferreira sings about a "Japanese Jesus" over a thrilling whirlwind of sound. It's a shame that this has only come out digitally so far, I'd love to blast this through my stereo speakers in a lossless format.
The sound is like an electronic vacuum. Golden Age is a celebration of experimental think Grimes, Bjork, Moev and very catchy electronica.
The vocals, intentionally at times slightly off-key and delivered in a spirit of boredom, add an extra dimension. In fact, the entire package seems to have been borne by the winds of a tesseract. Two of her albums have gone gold, and she has received two JUNO nominations.
The diversity of instruments played, complex instrumentation, and sunny style provide an even backbone of grandeur to such a heart-soothing voice. With childhood piano and singing lessons underway, she won contests and awards, took up the guitar, and studied jazz. The music is soft, graceful, and smartly decked with strings. He left the band a year later to launch his own projects, the best-known of these being Delerium which enshrined a more moonlit new age electronica. On the dark side of the moon, Leeb created Front Line Assembly as a more aggressive venture.
After some 26 years of FLA releases, appeared Echogenetic in FLA sheds its off-and-on use of guitars over the years for a pure, all-synth brand of spook. Menacing, mangled vocals, brick-smashing electronic bass, razor-sharp percussion, and an ethereal orchestra of synthesizers punch craters in the floor and blast the listener up to cast-iron clouds of emotion and dream.
Mitan by Tire le Coyote Sophomore work Mitan from Tire le Coyote, or Benoit Pinette, sounds like a dark but vibrant spaghetti western soundtrack that could add some panache to films scored by Ennio Morricone.
It even opens with the haunting peal of a harmonica and slow-motion strum with deliberately beefed-up reverb. It builds from a hot dusty tumbleweed bouncing around and shutter flapping in a vacated ranch house into an ensemble of determined instruments each doing its bit on a bandstand where the townsfolk sit listening in a transfixed state.
Tire le Coyote has more tricks up his musical sleeve than a card shark in a poker saloon. A decadent and delicious collaboration with goth growler Marilyn Manson precedes homage to Japanese cartoon icon Hello Kitty which receives the electropunk treatment it deserves. Most importantly, it effectively showcases her songwriting genius. Chief Inspector Jacques Clouseau is on the prowl bouncing around playfully as the opening bass-carried tune would suggest.
Going downtown, things get harder, faster, and alas we discover the whole time, we have been strolling through the shimmering thoroughfares of Kuala Lumpur. Escapology by Maylee Todd Maylee is from Toronto and released her debut LP inan experimental dabbling in a switchboard of styles.
Fusing the organic with the electronic, kneading in elements of 70s boogie, funk, bossa nova, and soul, she has honed her craft and channelled a torrent of mastery into her sophomore record.
And this is what has happened here. The songwriting, instrumentation, production, and singing are all first rate.