The angsty teenage girl has been one of the core targets of songwriters in search of an audience for decades. Albums such as Carole King’s “Tapestry” had every female high school senior at the time singing “Will You Still Love Me Tomorrow” the night before graduation. Fast forward a few years and you’ve got Evanescence performing the soundtrack to every Hot Topic wearing teen girl’s Livejournal, along with Taylor Swift singing “Picture To Burn,” threatening to spread rumors about her ex if he won’t shut up. In 2008, the insecure, misunderstood, sometimes vengeful, and all around filled to the brim with emotions female heroine comes in the form of Lesley Roy.
The following song “Here For You Now,” is a complete fusion of the two polar ends of pop music. In one hand you have the verses with the edgy, scratchy vocals and heavy versus little instrumentation of a Meg & Dia song. Then in the other hand you’ve got the chorus sounding like cheesy S Club 7-esque pop hooks trying to disguise themselves as rock by adding guitar licks. Regardless of the awkwardness this synthesis of sounds would be assumed to make, it actually works and creates a good balance that evens out the song into a bonafide radio hit.
The lyrics within the title track skip around from pleading to questioning to a self deprecating decision to give up trying to win back
Coming after “Unbeautiful” is the most memorable song on the record, “Psycho Bitch.” The lyrics sound like the thought process Carrie Underwood had after she made her man think twice “before he cheats” again. Hands down the heaviest rock song on the record,
Next is “When I Look At You,” the most sexual song on the record. In it,
Following soon thereafter come the two most lyrically conventional songs on the record. It is almost as though they were written specifically for angsty teen girls to quote in their away messages and scribble throughout their diaries. “Dead But Breathing” sounds literally identical to every Avril Lavigne ballad ever recorded, yet still manages to tug the heart strings a little if you’re willing to move past its overwhelming cheesiness and conformist approach to breaking up. Then there’s “Misfit,” which upon first hearing, one would swear was a Fefe Dobson song from her self-titled album. In a way, the song can serve as a female alternative to The Red Jumpsuit Apparatus’ hit “Face Down.” No, it’s not the story of a man who beats his girlfriend, but rather about the abuse one inflicts upon them self in an attempt to feel alive. “See the one nobody wanted, shattered by a world of lies, see the misfit in the mirror die,” sings
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