Demi Lovato Review, Holy Fvck: A hard, horny rebirth album

The art of the pop confession album has been honed to perfection: Adele, Beyoncé, Olivia Rodrigo, Selena Gomez and countless others have reaped the artistic and commercial rewards of lifting their dirty laundry off the top of the charts. Demi Lovato has had a lot to deal with on her journey from tween Disney star to troubled R&B/country-pop survivor; last years Dancing with the devil… The art of new beginnings confronted with her near-fatal drug overdose and recovery in 2018, her struggles with bulimia, and gender exploration that has seen her change her pronouns to her/her and back again in recent years. Now, as if her demons are still gnawing their way out more fiercely than ever, she has turned to hard rock to better exorcise them. The fact that this is a genre more suited to festival headlines is just a happy coincidence.

She definitely goes all in and for the throat. Opener “Freak” features punk-pop maniac you jour Yungblud and via carnivalesque goth rock guitars and outbursts of industrial glam and hardcore, Lovato finds her status as a “piece of meat” sliced ​​up for entertainment: “came for the trauma, stayed for the drama”. “Skin of My Teeth” addresses her recent return to rehab (“I just want to be free but I can’t because it’s a frigging disease…the reaper is knocking on my door because I’m addicted to more” ) in the style of Holes pop-rock celebrity skin era, while “Eat Me,” much like Muse’s crunchy synth-rock, directs the aim of herself toward the industry that chained her to her lucrative expectations. “Be more predictable, be less political, not be overly original, keep tradition alive but stay individual,” she moans, listing A&R notes before launching into a power punk chorus: “I know the girl you adored , she’s dead, it’s time to fucking mourn… you gotta eat me for what I am.”

Holy FvckSo , from the title onwards, is a classic album that sheds the pop facade and oozes defiance and rebirth of the real me. And, as befits such emancipation albums, it’s extremely awesome. Stripped of the sly innuendos on which most songs entitled “Come Together” live, surging rocker “Come Together” is obviously about simultaneous orgasm. The Royal Blood-esque title track should be taken at a similar, non-metaphorical face value. To a Marilyn Manson stomp, Heaven unraveled the spiritual dilemma of the masturbating Christian. And as for “City of Angels,” Lovato envisions – in Avril Lavigne/Blink 182 pop-punk mode to the max – naming a wide array of Los Angeles landmarks, from the Viper Room to Splash Mountain, and not in the Presbyterian sense. At all.

However, amidst the buzz rock howls and air guitar strumming there is plenty of room (on what is frankly an overly long record) for more subtle emotions. “29” laments the aging process Weezerishly. “Feed” indicates how the “two wolves in me‘ she has learned to feed optimism over pessimism. “Dead Friends” gives the party buddies Lovato lost along the way the anthemic rock tribute they deserve. And “Happy Ending” is a rousing slab of grunge-pop soul-searching, Lovato admits that “I miss my vices,” “demons are calling and tearing me to pieces,” and that pop star only makes the pain worse: “I was your poster Kid, it worked for a while, but it didn’t fill the void.” “Will I die trying to find my happy ending?” she muses, though, as Holy Fvck There doesn’t seem to be any slipping into a more traditional country-rock closeness.

“I think this is forever for me,” reads the closing big folk ballad, “4 Ever 4 Me,” and whether it’s talking about a new romance or that successful two-footed leap into rock, it’s worth a toast.

Holy Fvck will be released on August 19th

https://www.independent.co.uk/arts-entertainment/music/reviews/demi-lovato-holy-fvck-review-album-2022-b2146758.html Demi Lovato Review, Holy Fvck: A hard, horny rebirth album

JOE HERNANDEZ

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