The current invasion of female singer songwriters from across the Atlantic is slightly curious. Curious in two respects. One they have managed to sell vast amounts in a short space of time in a genre that looked to be pretty much dead. Sure back in 95, with the Alanis breakthrough girls with guitars and attitude were temporarily the flavour of the month, and the talented likes of Sheryl Crow, Natalie Imbruglia set the charts alight. Riding on the coat tails a bit but still getting a sales uplift were established artists: the likes of Sarah Mclachlan, Tori Amos. Even half-hearted imitators like Meredeth Brooks managed to shift a few albums. But tastes change, the downward trend seem to begin with Morrisette’s impenetrable sophomore release, but even as recently as earlier this year, neither Crow, nor Imbruglia nor even Morrisette could gain sales any where near the height of their fame, despite all three releasing career best albums. And Brooks? Well she’s been languishing in career limbo since ooh 96?

So finally we come to Avril Lavigne. When you see Lavigne you have to wonder if she is the product of a marketing man’s wet dream. A strikingly beautiful skater kid, only 17 years old, who resembles the missing link between Britney Spears and Sum 41. You can see the A&R men rubbing their hands with glee: “Sure we’ll have her sing a few three chord thrashy pop numbers and the kids will go wild.” Lavigne, despite landing her record deal at the tender age of 16, however, seems to have had other ideas. You see Lavigne is a songwriter too. Perhaps not that surprising, at 17 I had my Fender Squire Strat and fancied myself a writer. But unlike my cringe worthy teenage moments, Lavigne can write a tune.

Lavigne is Canadian, which of course immediately invites a wealth of Alanis comparisons. Although the image may be a little different, the signs do look naggingly familiar. Pretty girl, equipped with guitar signs her own songs, at times tinged with venom directed toward the opposite sex. Album curtain raiser, ‘Losing Grip’, certainly doesn’t provide any evidence to refute the accusation. Slow paced, metallic tinged guitar introduction, a little more then mildly upset lyrics from a spurned female and an orgy of feedback and jarring guitar on the chorus. That is until you remember that at 17, Morrisette still had a bubble perm was singing radio friendly candyfloss as selected by her record company. Strike one for youth. Strike two because ‘Losing Grip’ is a startling abrasive opener. From the opening notes that bubble with all the menace of any metal band you care to mention, whilst intriguingly restrained. Lavigne’s vocals are mannered, and well paced on the verse. Her voice at first could be one of a hundred starlets ‘Dawson’s Creek’ has failed to launch to superstardom. However, as the bridge curls into view and Lavigne’s vocal slip from slight smile to sneer, a sea change comes over the track. With guitars gusher in, flinging the vocals along, carried by a tidal force of a hook. At times the vocals do nod a little to the anguished Alanis cry, particularly in the middle eight, but pound for pound ‘Losing Grip’ packs an equal punch to ‘You Oughta Know’.

However, what is more impressive is that Lavigne can manage for more then an effective impression of Ms Morrisette. ‘Let Go’ reveal one its real gems early on with flyer single ‘Complicated’, which is probably all over your radio as you read this (and if not it surely should be). Building out of a lightly strummed blast of guitar, and what sounds like a series of answer phone message truisms (“Life’s like this / That’s just the way it is”), comes a great swaying riff and then a truly lovely vocal melody, which clicks repeatedly from major to minor key in an incredibly endearing fashion. The bridge snowballs matters, with Lavigne’s lyrics spiralling with increasing speed, before things come to a dead halt. Then suddenly rearing up into one of the classiest chorus hooks I’ve heard for some time, the guitars lap gently rather then ravage Lavigne’s honey tinged voice, whilst still retaining a slight bite, and when the harmonies kick in on the final line it’s almost all too much. The middle eight floats into view deliciously, with Lavigne’s vocals scattering across the mix, before reforming into a toned down acoustic repetition is lifted into one final emphatic refrain. The track is the kind of material Natalie Imbruglia would probably kill for, but produced with a far lighter touch then some of the heavy-handed studio jobs employed on her last record.

Indeed clever pop is sure something of an Avril Lavigne speciality. The sunny acoustic riff that introduces ‘Thing’s I’ll Never Say’, followed by a rush of semi scat sung “lala”s should be enough to but a smile on the face on even the most jaded cynic. Whilst the nervy, almost tense verse sits well with the classic lyrical tale of unsuccessfully attempting to chat up the object of your affection by gabbling a load of rubbish. Once again it’s the chorus, which swoops in to take the honours, blessed with that infectious riff amplified by the odd electric. Lavigne even makes a rather cringe worthy attempt at sauciness sound endearing (“If I could say what I wanna see / I wanna see you go down on me,”). The middle eight is blessed with a lovely counter point harmony, and by the time the chorus flicks back into view the hook is firmly imbedded in your subconscious.