Demi Lovato’s 'Holy Fvck': A Millennial’s Godsend or An Apostate’s Goddamn?

If you listen closely, you can hear the plastic being torn off thousands of pencil eye liners and do-it-yourself hair dye kits as millennials everywhere channel their early 2000s rock phase thanks to Demi Lovato’s newly released pop punk album Holy Fvck.

For her eighth album release, Demi has finally given the fans what they’ve been asking for since 2009; an edgier, slightly more mature pop rock album reminiscent of her Don’t Forget and Here We Go Again days. Although Demi has found her way back to a genre that many (ahem, me) would argue suited her best, I’m apprehensive to say Demi “returned” to pop rock for a few different reasons, the main being I’m not convinced she ever really departed from it.

Over the years, I’ve shamelessly attended a few of Demi’s concerts and couldn’t help being left with the impression she was overselling something she wasn’t completely comfortable in. Demi has one of those voices that can seamlessly work in many different genres, and while I’m sure she enjoyed every bit of grinding onstage to her pop-R&B hits, it was obvious she had the most fun with a guitar in hand rocking out to her older stuff. Don’t get me wrong, I’m a sucker for pop-R&B Demi, and Tell Me You Love Me is still one of my favorite albums, but I’ve always thought this sweet soul reflects more authenticity as a musician first, performer second.

Holy Fvck comes with a lot of mixed reviews though; Some critics mock her pop punk return, which is usually followed with underlying presumptions that she either ran out of other options and/or this is her last attempt at a comeback. As my wife equitably reputes, this album is less of saving face and more of a gutsy creative choice that will inevitably avert the staunch pop-R&B fan base. Certainly this album won’t be for everyone, but whether you’re a fan or not, a trip down memory lane should leave you regarding this album as more than just another one of Demi’s unconventional experimental tendencies.

The Fvcken Backstory

One of my first memories of Demi was from what I call Disney Channel’s last best era. It was early 2000s and notable shows like Lizzie McGuire, That’s So Raven and Even Stevens had already phased out, leaving a massive void for those old enough to ache for an equally entertaining replacement but still young enough to be coaxed into cheesy teen content. Like most Jonas Brothers crazed pubescent teens at the time, the 2008 summer release of Camp Rock was met with wide open arms and unrealistic fantasies. I was a sexually repressed sixteen year old at the time of its release and according to my *very* reliable, trustworthy source (J-14 magazine) I could very well be Nick Jonas’ next girlfriend. As a love stricken JoBroHo, I unquestionably tuned in to Camp Rock to be a willingly participant in the Jonas Brothers consumption, but oddly enough, it was Demi who left me wanting more. *Spoiler alert: I also turned out VERY gay years later.

While we now know the nauseating ways Disney manipulated Demi in her early years, that bitch mouse can’t take credit for how she enamored us. Demi came onto the scene at the most opportune time when the selection of teenage actors could barely act let alone sing. We were used to the heavily auto-tuned pop artists with their less than average choreographed dance routines, but Demi affected us with her wide vocal range and instrumental skills, something that was foreign to the majority of Disney-factured stars. Let’s also not forget that this was peak Paramore days, when Hayley Williams embodied every thing female driven rock bands could be and where the push for more female rockstars was happily welcomed, at least by angsty teens and misunderstood young adults. Where the inept entertainment of others barely quenched our musical proclivities, Demi left us hungry for more after pop rock hits like “La La Land”, “Here We Go Again” and “Remember December” (all of which still slap harder than the tortilla challenge).

The Fvcken Disclaimer

Before we get into the actual review, I do have to acknowledge my tumultuous relationship with Demi, which could also be a factor in how others might receive this album release. Despite my admiration for her irrefutable talent and what I believe to be her sincere desire for an authentic, trailblazing career, she sometimes misses the mark. While she inarguably has an ear for music, she can actually be politically tone deaf at times. Although I’d love to get into the some examples of her insensitive and problematic moments this is, after all, an album review. Perhaps that’s a future conversation best left for our podcast, but there’s also more than enough circulating articles and opinions disparaging Demi and frankly, that’s a bandwagon I’m not interested in riding on.

The Fvcken Review

Overall Rating: 6.5/10

Holy Fvck can be summed up as either a millennial’s timely godsend or an apostate’s therapeutic release (or both). After being away from the punk rock genre for thirteen years, I was pleasantly surprised at how much more cohesive the theme and story telling of this album is compared to Demi’s last few albums. Holy Fvck is a strategically woven narrative with religious undertones that begins with reflection, journeys through restoration and finds redemption. I love pop-R&B Demi, but I don’t think these songs would have been as impactful had she divulged this story alongside sexy beats.

Most of the songs aren’t supplied with an abundance of lyrics, but there are some heavily packed remnants that fully encapsulate everything trauma and religious fueled oppression can do to someone, which sadly, is all too relatable. Six years ago I came out of the closet and completely abandoned religion and I still haven’t been able to shear the deeply rooted theologies I was taught. It’s because of my disgust with what religion did to me and what it continues to do to others that I can understand Demi’s glaring irreverence and anger on this album. While some might find her not so subtle double entendres appropriate, I holy welcome them because I recognize the need to insult an institution that promotes misguided and harmful self-efficacy.

As for the sound on this album, while rock is usually synonymous with edgy, at times it felt like Demi was struggling to balance the fine line between authenticity and imitation. Vocally, she has everything needed to successfully ride the fast paced ballads but there is room for fine tuning her sound into something that feels more raw and less rehearsed. Not every song is lead with blaring guitar and drums though and I appreciated some of the nostalgic nods to an old Demi sound scattered through out the album.

Taking it track by track, here’s some of my fave lyrics accompanied by unsolicited commentary.

FREAK (feat. YUNGBLUD)

"Came from the trauma, stayed for the drama”

This was a fun opening track and accurately establishes the album’s overall tone. YUNGBLUD was also the best feature choice because of his relatable insight to the message of this song.

SKIN OF MY TEETH

“I don't need you to keep score / When I’m the one who’s at war”

You can’t help but head bang along to this one but I can do without the bridge which sounds like it was recorded inside of a toilet bowl.

SUBSTANCE

"Trying to master the art of detaching"

I didn’t love this one at first because it can be better lyrically, specifically the chorus. It’s another fun listen but I can’t help getting distracted by the “head full of maggots” reference.

EAT ME

"Keep to tradition, but stay individual”

I love the lyrics on this one. Musically, the verses remind me of AWOLNATION’s “Sail” and I would have enjoyed the ride better had it refrained from such an aggressive switch during the chorus.

HOLY FVCK

“I’m the fruit that was forbidden, but don’t keep my evil hidden”

“I’ll show you the light with all the lights off”

I had a good chuckle with this song. I think it’s clever and scandalous, two elements I can always appreciate.

29

“Thought it was a teenage dream, just a fantasy / but was it yours or was it mine?”

This song is obviously about someone *specific* but sadly, there are too many people with relatable experiences like this one. It’s probably one of her strongest tracks on the album lyrically, musically and emotionally.

HAPPY ENDING

“I tried to be your hero / I lent you my voice / I was your poster child, it was working for a while / but it didn't fill the void”

For a song that’s named “Happy Ending”, it couldn’t be further from emulating a happy feeling. This track sounds more like a cry for help, and captures her loneliness and pull for something she ultimately feels is beyond her reach.

HEAVEN

“I can't help it, guess I'm a heathen / Going to hell 'cause it feels like Heaven”

Am I the only one who has a strong urge to blast this over some loud speaker in a mega church? This is another tongue in cheek song that I take great pleasure in.

CITY OF ANGELS

The opening of this track immediately reminded me of a young Avril Lavigne. I love this song musically because it’s fun but it also sounds like 15 year old Demi would have written it. I think she could have accomplished the same sexually charged track but with better lyrics.

BONES

My wife and I don’t see eye to eye on this song. If any song sounds like it doesn’t belong, for me it’s this one. For some strange, twisted reason, I just keep visualizing John Travolta dancing along to this one, which is almost as weird as the decision to include this track on the album.

WASTED

I get the sentiment behind this song, really I do, but it’s a bit too adolescent lyrically. She could have accomplished the same message, even used similar references, but with better lyrics.

COME TOGETHER

I love this song because it feels like it would be fun to singgggg togetherrrrr at a stadium. It’s obviously about YOU KNOW WHAT and we’re here for it.

DEAD FRIENDS

This one *should* be a sad track but the music doesn’t follow through with what the lyrics should emote. This song is ultimately about survivor’s guilt, but I’m just not picking up the guilt on this one.

HELP ME (feat. Dead Sara)

Emily Armstrong is the perfect feature on this one and both of them together bring an equally charged energy that compliments the other.

FEED

This one gives me Creed’s “My Sacrifice” vibes. I’m not *in love* with it yet, but I think I can eventually come around to it.

4 EVER 4 ME

The first few seconds of the guitar sent my mind to Goo Goo Dolls’ “Iris” and then the singing started and I was transported to Avril Lavigne’s “I’m With You”. It’s cute and I’m glad she saved this one for the end because it would have thrown me off had it been placed anywhere else on the album. I hate that she used numbers in the title though as it’s something I would have done in the eighth grade, not as a now 30 year old grown ass woman.

TL;D(Fvcken)R

Holy Fvck is a fun, cohesive listen with the right amount of ridicule and risqué but is ultimately lacking maturity. For a much anticipated return to the nostalgic sound that initially won us over, I’m impressed with this release and can only see her winning more over as she evolves into a sound that is undeniably hers.