Maybe that could have been like a weird thing to be saying at the time, but that’s how I felt, so that set the tone for the album. I didn’t hold back in being f-king over relationships and guys and how love sucks. We were writing songs and just having so much fun that there was no holding back with the lyrics. I like that word, “ferocious.” Like I said, I was working with people that just got me and what I wanted to do. What were you thinking about when putting them together? You sound pretty ferocious on the album, as if it was cathartic to have sung the absolute hell out of these songs. Then Travis is like, “Let’s sign you to my label,” and then I was like, “F-k yeah!” And the whole time, it’s just been so fun. That’s how that all came together - no label at the time, I worked with Feldy, then I worked with Travis, then all of us collaborated together. Sometimes you work with people who are like trying to do something that’s not their vibe, these guys are from that world and that style. I like their style, and they get my style. Everything is happening all at once, and I like to work that way - writing and then tracking it, and then he’s laying down his guitar, and I just love his guitar style. He’s a fast worker and I’m a fast worker, so we’re in there writing a song, and that day we record it, right away, versus sitting around, waiting for the track to get done. And I found really fun people and cool musicians to make this with.įor instance, when I started working with John Feldmann, I was like, “Where the f-k have you been? Like, I wish I knew you 10 years ago!” We clicked instantly. So I really made the record I wanted to make. I did not have a label at the time, and I didn’t have a manager, and I didn’t have, like, deadlines, or anyone breathing down my neck or giving me their opinions. Just hanging and talking with my friends in the music industry. How did these songs start coming together? This album is probably the most energetic I’ve ever heard you on a record. Writing these songs, I really had my live show in mind - they feel like songs that are supposed to be played out there, they have tons of energy. And now I’ll be able to go on the road this year and tour this album, which feels really good after we’ve all been cooped up, especially. So it feels like there’s a lot of celebration for me right now, and tons of excitement. This is the seventh record, and this year is the 20th anniversary of the first album. The whole vibe overall has been super cool. And Travis has been playing with me for all my performances, which has been really fun - I kind of put a new band together for that, which is just like, fresh energy. The day you went away avril tv#It’s been good - I’m in my promo cycle right now, so it’s just been shooting videos and a bunch of TV performances. The day you went away avril mod#Lavigne signed with Barker’s Elektra Music Group imprint DTA Records for Love Sux after a one-album deal with BMG for Head Above Water, and brought in revival poster boy Machine Gun Kelly, his “My Ex’s Best Friend” collaborator Blackbear, Barker’s Blink bandmate Mark Hoppus and her boyfriend, Mod Sun, for the album. In addition to veteran producer John Feldmann (5 Seconds of Summer, All Time Low), Lavigne worked on the album with Travis Barker, the Blink-182 drummer and Svengali of the current pop-punk resurgence that has crossed over from alternative radio to top 40 over the past two years. Yet even Lavigne’s early records weren’t this breakneck from start to finish – on songs like the fuzzed-out opener “Cannonball,” mid-tempo self-assessment “Avalanche” and sneering headbanger “F.U.,” her voice springs out from the production like a pop-up book. Love Sux could be described as a return to form for the “pop-punk princess” behind smashes like “Sk8er Boi” and “My Happy Ending,” which helped make the Canadian singer-songwriter an international star in the mid-2000s.
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