Review Summary: too punk for capital letters
You probably know her as the artist responsible for the 2016 song 'Pretty Girl', which was promptly remixed before assaulting eardrums the world over as an accompaniment to a semi-popular social media trend that saw people ascending stairs sideways. Hmmm. An unfortunately obnoxious rise-to-fame it may be, but an important scene-setter for the appeal of Maggie Lindemann, the pop singer turned pop-punk/ noncommittal goth princess. Suckerpunch as a whole is in some ways a capture of the transition between these two musical worlds, as the flagrant genre hopping- whilst only occasionally fully distilling them as an actual representation of 'pop punk' as a combo- feels quite awkward. Yet, the overall experience is still entertaining and is carried, for the most part, by Lindemann's convincing performance. The aesthetic and general production of the release, whilst sporadically feeling somewhat forced, transmit the essence of pop punk pretty impressively considering the slapdash nature of the experience, and the angsty lyricism plays to this vibe admirably. The album is also incredibly catchy- whether it be the hooks, vocal melodies, or instrumental motifs; it's earworms galore.
Whether attempting the emo-inflected emotionality of the pop or the fist-pumping bravado of the punk, the feel of Suckerpuch is mostly pretty engaging. Yet, curiously, the album suffers when Lindemann leans more heavily into the pure pop tropes. There are occasions, on tracks such as 'i'm so lonely with you' and 'girl next door', where this combination is attempted, albeit with mixed results. These songs just feel like pop songs with guitar riffs added, rendering them ostensibly toothless as displays of begrudging conformations to the expected sound. In the latter example, this feels especially egregious, as the instrumental backing during the chorus feels incredibly token and bland. A shame, considering the likeability of the verse melodies and the appealingly minimalistic style of the song at large. In contrast, 'self sabotage', which demonstrates a somewhat similar sound but feels served by the chorus instrumental rather than hindered by it, capitalises on the understated nature of the composition by allowing the more subdued delivery to rise over the dominant musicality. It stills comes across as a little flat when there are other moments on the release that see Lindemann belting her heart out over similar tones, but it still works better because the composite elements are structurally connected. 'novocaine' is probably the best example of this merging, with its balls-out, well-judged production and angsty, emotive energy that permeates not only the lyrics, but the music too.
The more rock-focused tracks, whilst simplistic in general terms, do their jobs exceptionally well. The most punk-influenced track on the album, 'how could you do this to me?', is fast-paced and ill-tempered joyride of modern pop-rock sensibilities, possibly due in no small part to the feature by Kellin Quinn; it has a catchy riff and is perfectly positioned on the release as one of the closing numbers. Similarly, 'she knows it', which radiates pop punk energy at every turn, has neat vocal hooks and a scream-along chorus that sells that all-too familiar bleeding-heart energy the genre calls for. Leant an additional edge by the shameless lyrics and bouncy production, it's undoubtedly an album stand-out. Unfortunately, there are occasions throughout the album where some ill-advised production choices are implemented and the effect feels either bewilderingly lukewarm at best or hideously ostentatious at worst. True album opener 'take me nowhere' uses this clipped, glitchy melody with an irritatingly stop-start structure that feels consistently underwritten. A shame, as it is still a catchy opener and the lyrics, whilst cliché, are earnest enough, but the overall effect is all but written off by the musical choice. Elsewhere on the album, 'break me!' has this misguided attempt at a 'darker' aesthetic that feels almost tragically cute. The poorly-utilised screamo motif throughout feels like a gimmick, and the thicker production style may suit the goth-punk artistry, but it has a sense of awkwardness that is hard to shake.
Lyrically, Suckerpunch is exactly what is expected; rife with emo invectives and frenzied calls to arms, its themes are predominantly social. The more personal moments on the album are undoubtedly the strongest lyrically, but still suffer from the inherent corniness that comes with a genre such as this. Yet despite this setback, Lindemann leaves the listener in no doubt of her conviction, due in part to her vocal power but also thanks to her style, which has feel of innocence and vulnerability- even below the high-octane abrasiveness of Suckerpunch's more anthemic movements. 'casualty of your dreams', for instance, has an emotional, even overblown feel to the lyrics but is afforded a visceral sense of polish thanks to the delivery, especially during the chorus. In terms of actual vocal ability, the performance on display throughout the album is impressive and more than suits the aesthetic and musicality. This certainly goes someway to redeeming some of the weaker moments, imbuing even some of the blandest excursions with an appeal beyond the other prominent elements. Coupled with the catchy nature of virtually every track, Lindemann herself gives a real reason to recommend it.
The scattershot nature of Suckerpunch renders it somewhat neutered and maybe even obsolete when placed alongside some of the genres heavier hitters, past or present. It's a pop punk record with the emphasis mostly on 'pop', feeling for the majority of its duration like an upscaled, mildly more abrasive pop rock outing. Leaving this aside though (along with the underdeveloped musicianship and overwrought lyricism), the experience is far from unpleasant and is littered with so many earworms I've been trying to flush them out of my brain for weeks now. The feminine slant on this solo-focused record is also a real boost to the overall feel of the release, allowing for a explorative view of personal experience with a caustic, feisty feel. Nevertheless, Suckerpunch is still weighed down by a wealth of issues, not least of which is the underwritten nature of the music and the immature tone of the content overall. Still, taken at face value and enjoyed with one tongue planted firmly in cheek, this is a sleek, head-bobbing little diversion.
