Avril Lavigne’s triumphant return to pop-punk and 7 more songs to listen to this week

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Each week, CBC Music producers come together to celebrate the best new Canadian tracks.

This week we got hooked on new songs from:

  • Avril Lavigne.
  • Amanda Rhéaume.
  • New city.
  • Dilettante.
  • Keys N Krates with Lido Pimienta.
  • Cedric Noël.
  • Tenille Townes.
  • Manifest.

Scroll down to find out why you need to hear them.

What new Canadian tunes are you obsessed with right now? Share them with us on Twitter @CBCMusic.

Press play on our Songs you need to hear streaming, filled with songs that CBC Music producers have chosen for their playlists, and tune in to CBC Music Mornings every Thursday to hear CBC Music’s Jess Huddleston and Saroja Coelho reveal which of these tracks is the new Canadian song that stands out.


“Bite me”, Avril Lavigne

Between the current pop-punk revival and the impending 20th anniversary of his debut album, Let go, around the corner, it seems like the perfect time for Avril Lavigne to return. While 2019 Head above the water was a detour to the top of the Christian rock charts, “Bite Me,” his first single on Travis Barker’s DTA Records label, is a complete throwback to his pop-punk beginnings. Barker, the man behind the fiery hits of Machine Gun Kelly and Willow, admittedly has a signature formula that relies on stable drums and distinct guitar riffs, but here Lavigne brings his own angst to the track. “You should have known better how to fuck someone like me,” Lavigne begins, with fiery conviction, “Forever and ever, you will wish that I was your wife.” The track, according to Lavigne, is about “a guy who wants a second chance but doesn’t give him the time of day,” and his determined delivery, paired with the punch of the guitars, remains firm in his decision to move on. to something else. As pop-punk finally makes more room for diverse voices, thanks to recent successes from artists like Willow and Olivia Rodrigo, it’s only fitting that our pop-punk princess is back to claim her throne. – ML

‘100 years’, Amanda Rhéaume

Can you feel the heat,
Under your feet.
Rising on the earth, stirring in the street,
Waking up from a hundred years of sleep.

Amanda Rheaume’s new single, “100 Years,” is both an interrogation and an uprising, as the Métis singer-songwriter searches for her place in the world and demands a space she has since been denied. long time. Two videos accompany its release; the first, a short and frightening intro by Métis rights leader and activist Tony Belcourt detailing the government’s erasure of the Métis people, which seamlessly leads to the second, Rheaume’s “100 Years” video, beautifully filmed on Unceded Algonquin Anishinaabeg Territory (Ottawa) with director Sean Stiller and performer Sage Wright. The video perfectly captures the “two roads out of this city” that Rheaume sings in the front lines, as she frantically and tiredly walks through the city’s daily life as Wright waves to her from the Kitchissippi River. Rhéaume’s voice is a balance between strength and vulnerability, cutting right through the welcome and tired swing of guitar and drums. “100 Years” is a great Americana, but best of all, Rheaume continues to change the canon of the stories this genre tends to tell. – Holly Gordon

“Someone to Remember”, New Town

We’ve kind of been sleeping on New City since the pop-rock trio added Chase Ellestad to their roster a few years ago. But the point is, they just released their fourth single of 2021 and they sound better than ever. In the rhythm and harmonies of “Somebody to Hold” there are echoes of mid-80s classics like “Don’t Get Me Wrong” by the Pretenders, but updated and smoothed out with a lush and brilliant production. Finding connection is the song’s preoccupation: “I want to get a little closer, I want to get to know you better,” says the opening verse – an inner monologue accentuated by generous reverberation on the vocals. A bird makes a cameo during the song’s breathtaking bridge, while a lead guitar provides ongoing commentary during the chorus, which ends with the overwhelming call, “I just need someone. one to hold. ” – Robert Rowat

“Bonnie”, Dilettante

A mainstay of the local Toronto music scene, For Jane is back with a new name: Dilettante. Teasing their self-titled debut album, released in May 2022, the debut single “Bonnie” is full of hazy synth, disco grooves, and soaring, effusive vocals. The song opens with a preview of Audrey Hepburn in the 1959 film The Nun’s Story: the image of a self-determined woman committed to pursuing what she needs above all else. Co-conductor Natalie Panacci wrote the song after an affair with a drummer from London, UK. He called her a “bonnie,” an affectionate term used to describe the ideal woman. He also unknowingly gave her the opening verse of the booming track after telling her, “Bonnie, you are a work of art / You are a joker / You are a dream ship in my heart.” As the song builds, Panacci and fellow conductor Julia Wittmann weave a captivating web with their interwoven vocals, as the heady and fleeting romance reaches its climax. – Kelsey Adams

“Siento Mi Destino”, feat of Keys N Krates. Lido Pimenta

The latest version of Keys N Krates, the vibrant Original classic, features a wide range of guest singers, including Juicy J, Haviah Mighty and Bibi Bourelly. And while we’ve already praised some of these collaborations, “Siento Mi Destino” with Lido Pimienta is perhaps the best yet. Pimienta has rarely ventured this far into the realm of dance, but her voice immediately feels at home, hovering among the synth swells and heavy rhythms. “Lido Pimienta has this incredibly epic voice,” Jr. member Flo told Complex, “and having her sing on an emotional dance floor was something new.” This epic scale is played out here as Keys N Krates allows Pimienta to do his own thing on the verses, while also isolating his voice and shaping it like an instrument on the song’s breakdown, like helium fueling a takeoff. The result combines the meticulous dance construction of Keys N Krates with the warmth and power of Pimienta – a winning combination that keeps us coming back for more. – Melody Lau

“Always”, Cédric Noël

If you don’t know Montrealer Cédric Noel, then his new release, Suspension time, is the perfect invitation. Written over the past four years, the album is a forehand to Noel’s heart, exploring identity and belonging as a black musician in a predominantly white indie-rock scene, his songs being squarely in the center. of a folk-pop and ambient Venn diagram. . “Stilling,” one of the album’s most notable tracks, tries to “find a sense of belonging and struggle between two spheres of life,” as Noel revealed in a statement. This struggle bleeds at the heart of the song, from the cold and atmospheric opening to the intense and enveloping chorus where Noel asks a two-part question: “Am I always, still, always a part of it? / Always, always , always apart from that? ”Noel, prolific songwriter and bassist for Ada Lea, Alexia Avina and Dana Gavanski, reckons Suspension time like his eighth album, and it still feels like he still has a lot to give. – HG

“Naughty in me”, Tenille Townes

One of the most endearing things about the country genre is its often quite literal and shameless account of the truth; whether it is a mundane, everyday encounter or the human experience in all its splendor. Tenille Townes’ latest slow-motion ballad is fearlessly the latter. “This song terrifies me, but I’m more hungry for honesty than ever in my life before and this hunger carries me to a much more personal anchor in my writing,” Townes said in a press release. Townes does not dress the obnoxious manifestations of darkness and ego, but rather exposes them clearly on melancholy chords – once again reinforcing his compositional skills and infectious vulnerability. – Jess Huddleston

‘One Strike’, MANifesto

Since the September release of their debut album, Pinky Swear, Toronto’s MANifesto – which describes itself as “5 gay adults from Toronto who cover songs created by girl groups” – has released a series of music videos to accompany their singles. The most recent is a simple yet evocative homage to the wonderful witches of the world and the light and dark of the space between the fall equinox and the winter solstice. Mariachi-style brass and percussion dance with strings as the vocalists ‘voices harmonize over the brilliant choirs of All Saints’ “One Strike”. The song vibrates with life as MANifesto works its ceremonial magic against the backdrop of rolling hills and threatening skies. Come for the cover, stay for the beautiful costumes, press over and over while MANifesto makes “One Strike” its own. – Andrea Warner

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