While it is not unpleasant, there is something slightly out of sync about it. Overall, the album feels a little conflicted. I prefer it to the sedation of echoey piano ballad “Rivers of Mercy” or the kraut-rock-adjacent “My Demon” (though I do like the latter a lot). To me, it sounds most like the Tears for Fears of the 80s – twinkling synth and unexpected stadium drums. This acknowledgement that life ends hangs gently over The Tipping Point: the title song itself is about the gossamer line between life and death. They cite an ex-manager who felt legacy acts should stick to the hits – but also a lot of conflict and life events, not least the death of songwriter and joint vocalist Roland Orzabal’s wife.
AVRIL LAVIGNE AVRIL LAVIGNE CD SERIES
It’s been a minute since Tears for Fears released an album – not since 2004’s Everybody Loves a Happy Endinghave they committed a series of songs to tape. Stream: Kiss Me Like the World is Ending, Bois Lie, Cannonball Tears for Fears She is concerned with feminism, for the most part: “Bite Me” is a roiling clapback at the men who’ve underestimated her, “Bois Lie” makes the radical suggestion that all genders are capable of mistruths and “FU” – well, I think you can work that one out. This second-adolescence of an album is an exhilarating blast of cobweb-clearing nostalgia that is far less cringe to listen to than Lavigne’s genre-hopping attempts of the intervening years (lest we forget the kawaii phase). And it turns out Love Sux is too much fun to side-eye it. It has been 20 years since Lavigne made her name singing about skater boys and seducing other people’s boyfriends – one might think she ought to have grown up a bit.īut then I listened to it. Ooh, edgy swearing, ooh, Machine Gun Kelly, ooh, a cynical cash-in on an ageing and nostalgic fan base. As a reformed teen music snob, it is tempting to take one listen to Avril Lavigne’s return to pop-punk and snark as I’ve never snarked before.
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