shessolucky
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Post by shessolucky on May 16, 2023 14:14:23 GMT
I dont think theres anything wrong with the way she is releasing her music. I rather have her think about it, its more meaningful. If she doesnt want the world to know her unreleased stuff thats not weird at all and if she had a million unreleased stuff. So what.
Edit:
I Dont Give and Why were on the Complicated Single CD and Get Over It was on the Sk8er Boi CD. Which is literaly what you would use unreleased songs for, make people buy a Song they already have... Which is something she always did... She always Had specials on singles or obviously deluxe Editions. It doesnt have to be 1000 songs to be great. Seriously, I dont get it.
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falling
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Post by falling on May 17, 2023 6:43:23 GMT
I dont think theres anything wrong with the way she is releasing her music. I rather have her think about it, its more meaningful. If she doesnt want the world to know her unreleased stuff thats not weird at all and if she had a million unreleased stuff. So what. Edit: I Dont Give and Why were on the Complicated Single CD and Get Over It was on the Sk8er Boi CD. Which is literaly what you would use unreleased songs for, make people buy a Song they already have... Which is something she always did... She always Had specials on singles or obviously deluxe Editions. It doesnt have to be 1000 songs to be great. Seriously, I dont get it. I love Avril's unreleased songs very much, yes, they can be worse than the album ones, but it doesn't matter. It's just that I know that I can love an unreleased track more than an album track, so I'm eager to get as much as possible. And if previously unreleased tracks could be obtained as a bonus on a CD, then with the advent of streaming, you can share it easily and get from it, albeit not more money than these songs will be leaked.
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damncoldnights
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Post by damncoldnights on May 17, 2023 16:13:56 GMT
I think I wasn't clear in the wording of my post. By "in her own weird way," I was referring to the songs she picks to be on the album, like how many of us think Bright and Break It So Good should've been on HAW. Like, we don't understand how her brain works making those decisions, but I'm sure she has very good reasons that make sense to her and it's not like she's picking songs out of a hat to be included on the album. I agree there's nothing wrong with her having the standard album, and ~4 new songs on the deluxe version. And it was definitely neat when for the physical release of singles (like Complicated, Sk8er Boi, etc) she included a B side. I wasn't at all saying anything negative, my point was that I think artists nowadays are fine releasing leftover songs with the mindset of "well I made these songs might as well let people hear them," whereas Avril has a specific goal/idea for the album, includes the songs that fit, and doesn't want to release the leftovers (like the finished ones that just didn't make the cut) because in her mind that would change the finished product (the album).
It would be cool if for singles she released their "siblings" on a physical single release (but then the issue is, most newer computers don't seem to have a built-in CD player). By "sibling" I mean how it seems like she writes several songs about a single idea and then chooses the best one to put on the album. For example, Bite Me and Joker or Avalanche and Anesthesia. So then the single release would be Bite Me, Bite Me (acoustic version), and Joker. Honestly this could even be done on Apple Music/Spotify I guess. But that's assuming she likes all of the unreleased songs and thinks they're release-worthy but just didn't fit with the album.
I do think it's interesting how much unreleased material she has, since that does seem uncommon for artists (or if it is, it's all tightly under wraps). The majority of it is from the LG era, which makes sense because she was writing SO MUCH back then given how long it took to make the album (I guess the same could be said for all the eras haha) and because she shot to fame so quickly, there was probably a good monetary incentive to leak the songs, and anyone who wrote with her during that period would want to talk about the songs they wrote with her (the titles we know of or are rumored but haven't leaked) to try to get other artists to work with them. Not to mention, leaking was way easier back then than it is now. We also know she wrote a lot for HAW and LS, so it makes sense that a good chunk of the other leaks are from these past 2 eras.
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BogoGog24
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Post by BogoGog24 on May 20, 2023 17:19:57 GMT
Looks like according to ASCAP that MIR is not self written as initially thought. Both MIR and PP were written with Mod and Feldy, like most of the album.
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TomX
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Post by TomX on May 21, 2023 7:24:45 GMT
That’s so odd, considering the credits on Spotify say it’s just her…
EDIT: nevermind, now Spotify states them three as writers. So weird!
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erikvaze
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Post by erikvaze on May 21, 2023 16:28:20 GMT
Looks like according to ASCAP that MIR is not self written as initially thought. Both MIR and PP were written with Mod and Feldy, like most of the album. Isn’t pity party has Omer Fedi (who co-wrote Bite Me and maybe Rock Boyfriend) in credits?)
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BogoGog24
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Post by BogoGog24 on May 21, 2023 18:43:57 GMT
Looks like according to ASCAP that MIR is not self written as initially thought. Both MIR and PP were written with Mod and Feldy, like most of the album. Isn’t pity party has Omer Fedi (who co-wrote Bite Me and maybe Rock Boyfriend) in credits?) No, ASCAP has it as Mod, Feldy, and Avril
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erikvaze
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Post by erikvaze on May 21, 2023 20:44:25 GMT
Isn’t pity party has Omer Fedi (who co-wrote Bite Me and maybe Rock Boyfriend) in credits?) No, ASCAP has it as Mod, Feldy, and Avril My ASCAP says this haha
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biggerwow
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Post by biggerwow on May 22, 2023 4:40:35 GMT
I haven't listened to pity party in a while but it just came on shuffle while wearing my headphones. Holy chipmunk please do better on AL8 🙉
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shifty
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Nobody's home chorus rhymes "home" with "home". Wonder why rap is a bad idea for Avril?
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Post by shifty on Jun 10, 2023 14:01:58 GMT
Very late to the party but let me give my 2cents about this little wonder.
I kinda stopped obsessing with AL's music after AL5, which gave me mixed feelings (good first half, meh bottom half) and HAW never resonated with me at all (I belong to the "pop-punk" movement, kinda far from the "emo" and "ballad" ones, that to me, are the two other movements in the fan base), and Love Sux made me fall in love with her music once again.
The vast majority of the Love Sux tracks make me scream, sing, jump and f**k the entire world off, giving me vibes a la "Everything back but you", "I don't have to try", "I always get what I want", "The best damn thing", "17", "Rock n roll", "Here's to never growing up", "He wasn't", that represent MY personal favorite declination of Avril's music.
The entire production is almost perfect, even in those experimental (playing with both organic and inorganic sounds altogether) tracks as "Cannonball" or "I love it when you hate me".
Bite me is the Anti-girlfriend, bringing on the table the same confidence and determination now conveyed to hating someone rather than wanting them.
The last minute and something of "Déjà vu" is a mix of everything that worked in her previous works, carrying elements from "don't tell me" (bridge) , "freak out" (solo drums at the last chorus iteration) , or even "hot" (who, listening to the last "oh oh"s of the chorus, hasn't thought of singing the words "you're so good" right after?), and it's to me the very best part of the record. I loved how the voice turns rawer, almost screaming.
Pieces as "Bois lie", "F.U.", and "break of a heartache" are impossible not to sing along, screaming and letting out all your lungs and soul.
"All I wanted" is the collab of the century: having Mark and Travis together on an Avril's record is a dream come true to those with my music background and fast drums and vocals are so "Blinky" it makes me cry.
Even the ballads (not my cup of tea as I said) manage to deliver a great outcome: "Dare to love" and "Avalanche" both carry "How does it feel" (my very favorite all time favorite AL's ballad) vibes.
It's the best comeback I could hope for and I love the entire work Feldy and Travis have done to make it possible.
Probably, my favorite AL's album ever, and I'm a day-one LBS, who saw her live for the first time in 2002.
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TomX
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Post by TomX on Jun 10, 2023 14:48:20 GMT
Very late to the party but let me give my 2cents about this little wonder. I kinda stopped obsessing with AL's music after AL5, which gave me mixed feelings (good first half, meh bottom half) and HAW never resonated with me at all (I belong to the "pop-punk" movement, kinda far from the "emo" and "ballad" ones, that to me, are the two other movements in the fan base), and Love Sux made me fall in love with her music once again. The vast majority of the Love Sux tracks make me scream, sing, jump and f**k the entire world off, giving me vibes a la "Everything back but you", "I don't have to try", "I always get what I want", "The best damn thing", "17", "Rock n roll", "Here's to never growing up", "He wasn't", that represent MY personal favorite declination of Avril's music. The entire production is almost perfect, even in those experimental (playing with both organic and inorganic sounds altogether) tracks as "Cannonball" or "I love it when you hate me". Bite me is the Anti-girlfriend, bringing on the table the same confidence and determination now conveyed to hating someone rather than wanting them. The last minute and something of "Déjà vu" is a mix of everything that worked in her previous works, carrying elements from "don't tell me" (bridge) , "freak out" (solo drums at the last chorus iteration) , or even "hot" (who, listening to the last "oh oh"s of the chorus, hasn't thought of singing the words "you're so good" right after?), and it's to me the very best part of the record. I loved how the voice turns rawer, almost screaming. Pieces as "Bois lie", "F.U.", and "break of a heartache" are impossible not to sing along, screaming and letting out all your lungs and soul. "All I wanted" is the collab of the century: having Mark and Travis together on an Avril's record is a dream come true to those with my music background and fast drums and vocals are so "Blinky" it makes me cry. Even the ballads (not my cup of tea as I said) manage to deliver a great outcome: "Dare to love" and "Avalanche" both carry "How does it feel" (my very favorite all time favorite AL's ballad) vibes. It's the best comeback I could hope for and I love the entire work Feldy and Travis have done to make it possible. Probably, my favorite AL's album ever, and I'm a day-one LBS, who saw her live for the first time in 2002. It’s so nice to read things like this. I think LS really proved Avril could draw in fans who had detached from her music after the first two or three records. This is not the first comment I’ve read saying this. I think Love Sux is a top tier album, and if it weren’t for nostalgia, I’m sure most fans would prefer it over TBDT. I understand the holy trinity is untouchable for most, but I’m sure in most cases that’s just nostalgia playing a part in it, not quality per se. And it’s not that nostalgia isn’t valid, but in terms of quality, Love Sux is a superior album without a doubt. It’s got the best elements from TBDT and none of the worst ones. For me, this album only went second to UMS because it was missing some more diversity in the lyrics and depth, as well as a few more mid tempos and at least one more ballad. The instrumentation and production is perfect (minus the severe auto tune on some tracks) , and it’s her most consistent and cohesive album by far after TBDT. I was hoping AL8 would be a superior version of LS being a tiny but more diverse, but I’m afraid LS put the bar too high at this point, and her next album isn’t looking as promising. However, I’m still so happy I got the exact album I needed from her after 12 years. I couldn’t have asked for a better actual comeback album.
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shifty
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Nobody's home chorus rhymes "home" with "home". Wonder why rap is a bad idea for Avril?
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Post by shifty on Jun 10, 2023 15:55:22 GMT
Very late to the party but let me give my 2cents about this little wonder. I kinda stopped obsessing with AL's music after AL5, which gave me mixed feelings (good first half, meh bottom half) and HAW never resonated with me at all (I belong to the "pop-punk" movement, kinda far from the "emo" and "ballad" ones, that to me, are the two other movements in the fan base), and Love Sux made me fall in love with her music once again. The vast majority of the Love Sux tracks make me scream, sing, jump and f**k the entire world off, giving me vibes a la "Everything back but you", "I don't have to try", "I always get what I want", "The best damn thing", "17", "Rock n roll", "Here's to never growing up", "He wasn't", that represent MY personal favorite declination of Avril's music. The entire production is almost perfect, even in those experimental (playing with both organic and inorganic sounds altogether) tracks as "Cannonball" or "I love it when you hate me". Bite me is the Anti-girlfriend, bringing on the table the same confidence and determination now conveyed to hating someone rather than wanting them. The last minute and something of "Déjà vu" is a mix of everything that worked in her previous works, carrying elements from "don't tell me" (bridge) , "freak out" (solo drums at the last chorus iteration) , or even "hot" (who, listening to the last "oh oh"s of the chorus, hasn't thought of singing the words "you're so good" right after?), and it's to me the very best part of the record. I loved how the voice turns rawer, almost screaming. Pieces as "Bois lie", "F.U.", and "break of a heartache" are impossible not to sing along, screaming and letting out all your lungs and soul. "All I wanted" is the collab of the century: having Mark and Travis together on an Avril's record is a dream come true to those with my music background and fast drums and vocals are so "Blinky" it makes me cry. Even the ballads (not my cup of tea as I said) manage to deliver a great outcome: "Dare to love" and "Avalanche" both carry "How does it feel" (my very favorite all time favorite AL's ballad) vibes. It's the best comeback I could hope for and I love the entire work Feldy and Travis have done to make it possible. Probably, my favorite AL's album ever, and I'm a day-one LBS, who saw her live for the first time in 2002. It’s so nice to read things like this I'm so happy to read your reply too! Thanks. I agree with everything you said. Not in contrast, but to further develop the conversation, your post brought a thought to my mind, being the sense of interior peace of having TBDT included in what you called "The holy trinity". I'm old enough to remember how TBDT felt like it embraced younger fans than those who knew LG and UMS already, when it was released, and many of the elder hated that record and "the pink revolution" at that time. I hope you remember that, since the reception was crazy, and you had to live it in first person to understand the actual amount of s**t that was thrown over it from the old LG/UMS fans. None of the following records attracted so much hate as that. I myself was one of those, but years after I revalued that work, now being one of my faves and definitely including that in an holy trinity (Bois miss, I can too)
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lucasm
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Post by lucasm on Jun 10, 2023 16:51:44 GMT
It’s so nice to read things like this I'm so happy to read your reply too! Thanks. I agree with everything you said. Not in contrast, but to further develop the conversation, your post brought a thought to my mind, being the sense of interior peace of having TBDT included in what you called "The holy trinity". I'm old enough to remember how TBDT felt like it embraced younger fans than those who knew LG and UMS already, when it was released, and many of the elder hated that record and "the pink revolution" at that time. I hope you remember that, since the reception was crazy, and you had to live it in first person to understand the actual amount of s**t that was thrown over it from the old LG/UMS fans. None of the following records attracted so much hate as that. I myself was one of those, but years after I revalued that work, now being one of my faves and definitely including that in an holy trinity (Bois miss, I can too) I just wanted to remind everyone here that I met Avril through TBDT. Watched them on MTV Brazil. Had a girlfriend identical to Avril and we listened to Innocence together. It was my dream to buy the physical CD but I didn't have any money at the time, I think I was 14 years old. It's my second favorite album of hers (the first is GL, for being Avril's most out of the curve and experimental). I always listen to TBDT when I want good energy or even to exercise. A pop punk classic from Avril discography. It's great to see your comments, I felt exactly the same way listening to Love Sux for the first few times: nostalgia, good energy and happiness that Avril's art brings us.
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damncoldnights
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Post by damncoldnights on Jun 10, 2023 18:02:59 GMT
I think it's really cool how LS has brought back fans that drifted away throughout the years. But it's interesting cause I personally I don't think LS sounds a whole lot like the Holy Trinity -LG and UMS each have a distinct sound and TBDT is way more pop than LS. LG is pretty rock/pop and UMS is similar but darker and a little rockier. LS to me is just a a fun head banging party full of guitars and drums. I wonder if in general people are reminded of those albums because pop-punk-rock WAS popular back then and it's a genre strongly associated with Avril even though at most she only dipped her toes in? Like yeah she's always liked heavy guitars and drums, but IMO pop-punk has a very distinct sound -I'm thinking of Bite Me, All I Wanted, LIWYHM, FU. And this is the first album she's really actually leaned into that sound. Whereas the Holy Trinity it was more that she had the essence/attitude of pop-punk but her music was way more on the pop-rock side. Sort of like she was definitely doing her own thing and fell into a category of her own, and as time went on people just lumped her with the pop-punk bands because they're the closest fit to what she was doing.
When I listen to LS, the nostalgia for me comes from it just feeling "Avril." When she released that first preview/snippet of Bite Me I immediately thought "holy crap this is Av completely in her element," and got chills. As much as I think her more mature albums (GL, AL, HAW) represent where she was as an artist in each respective era and were albums she is proud of and wanted to put out -label meddling aside- LS to me seems like it captures the sound/image the public associates with her and the sound/image she wants out there and is most comfortable with. Don't get me wrong, I absolutely adore LS and enjoyed this era immensely until January/February, but I view this album as more of a fun passion project for her. Which, it was. She wasn't even trying to make an album and was just writing with friends having fun. And it certainly wasn't a bad idea for her to join the pop-punk/nostalgia resurgence. It just feels like LS was sort of a safe/comfortable move for her to make at this point in her career: putting out an album that doesn't challenge the public's perception of her/her abilities as an artist and playing into that persona she's most comfortable with.
For what LS is -a fun, angry, don't take too seriously breakup album- it absolutely accomplishes its goal in a spectacular way. I love this album. And I don't think it was necessarily wrong of her to pivot into the welcoming arms of pop-punk/nostalgia, since she's had great success (and fun) with it. And really, there's nothing wrong with just wanting to make a fun album, just as she did with TBDT. But a part of me had hoped after the growth seen in HAW that some of that would maybe show up in LS. Like seeing an evolution throughout her albums. There are hints of that (DTLM, Avalanche, some of the leaks), and for me it would've been the cherry on top for her to have taken a few risks with LS that show her creative/personal growth -that she has more to offer as an artist than loud, angry boy bashing. From the reviews I've read/watched of LS, DTLM and Avalanche (mores DTLM though) are either highlights of the album or distracting because they stick out like a sore thumb. Some reviewers were even confused about why they were on the album lol. A huge chunk of the reviews were positive, but the main critique of the negative ones was that "yup it's Avril doing what Avril does, nothing new here I'm bored." Or, "this is exactly what I expected of an Avril Lavigne pop-punk album, I wish there was something here that surprised me." Like I said though, I love LS and I think it's great -it rivals my second fave Av album w/ UMS (first is HAW).
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Yolandi
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Post by Yolandi on Jun 26, 2023 6:17:54 GMT
Very late to the party but let me give my 2cents about this little wonder. I kinda stopped obsessing with AL's music after AL5, which gave me mixed feelings (good first half, meh bottom half) and HAW never resonated with me at all (I belong to the "pop-punk" movement, kinda far from the "emo" and "ballad" ones, that to me, are the two other movements in the fan base), and Love Sux made me fall in love with her music once again. The vast majority of the Love Sux tracks make me scream, sing, jump and f**k the entire world off, giving me vibes a la "Everything back but you", "I don't have to try", "I always get what I want", "The best damn thing", "17", "Rock n roll", "Here's to never growing up", "He wasn't", that represent MY personal favorite declination of Avril's music. The entire production is almost perfect, even in those experimental (playing with both organic and inorganic sounds altogether) tracks as "Cannonball" or "I love it when you hate me". Bite me is the Anti-girlfriend, bringing on the table the same confidence and determination now conveyed to hating someone rather than wanting them. The last minute and something of "Déjà vu" is a mix of everything that worked in her previous works, carrying elements from "don't tell me" (bridge) , "freak out" (solo drums at the last chorus iteration) , or even "hot" (who, listening to the last "oh oh"s of the chorus, hasn't thought of singing the words "you're so good" right after?), and it's to me the very best part of the record. I loved how the voice turns rawer, almost screaming. Pieces as "Bois lie", "F.U.", and "break of a heartache" are impossible not to sing along, screaming and letting out all your lungs and soul. "All I wanted" is the collab of the century: having Mark and Travis together on an Avril's record is a dream come true to those with my music background and fast drums and vocals are so "Blinky" it makes me cry. Even the ballads (not my cup of tea as I said) manage to deliver a great outcome: "Dare to love" and "Avalanche" both carry "How does it feel" (my very favorite all time favorite AL's ballad) vibes. It's the best comeback I could hope for and I love the entire work Feldy and Travis have done to make it possible. Probably, my favorite AL's album ever, and I'm a day-one LBS, who saw her live for the first time in 2002. It’s so nice to read things like this. I think LS really proved Avril could draw in fans who had detached from her music after the first two or three records. This is not the first comment I’ve read saying this. I think Love Sux is a top tier album, and if it weren’t for nostalgia, I’m sure most fans would prefer it over TBDT. I understand the holy trinity is untouchable for most, but I’m sure in most cases that’s just nostalgia playing a part in it, not quality per se. And it’s not that nostalgia isn’t valid, but in terms of quality, Love Sux is a superior album without a doubt. It’s got the best elements from TBDT and none of the worst ones. For me, this album only went second to UMS because it was missing some more diversity in the lyrics and depth, as well as a few more mid tempos and at least one more ballad. The instrumentation and production is perfect (minus the severe auto tune on some tracks) , and it’s her most consistent and cohesive album by far after TBDT. I was hoping AL8 would be a superior version of LS being a tiny but more diverse, but I’m afraid LS put the bar too high at this point, and her next album isn’t looking as promising. However, I’m still so happy I got the exact album I needed from after 12 years. I couldn’t have asked for a better actual comeback album. Yeah, I have always had TBDT as one of my top albums from her, but Love Sux surpassed that for me. Yeah, it's still bratty in a sense, but its just an updated version of what TBDT kinda is to me. My top 3 are HAW, Let Go, and Love Sux.
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