Ashlee Simpson: Just bein’ herself?
Bittersweet World, Geffen Records
Release date: 22 April 2008
By Joe DeRosa
Let’s face it. There are three things that come to everyone’s mind when you mention Ashlee Simpson: one, that embarrassing lip-syncing fiasco on SNL; two, all the pretty pictures of her lovely new nose in the ragtag mags; and three, she’s Jessica’s little sister. Now, in Simpson’s defense, she has been trying desperately to overcome all that rigmarole and establish herself as a solid artist. Adopting a slightly edgier tone than her sister, Simpson’s first two releases in just the names alone – Autobiography and I Am Me — were attempts to plead her case. Now with her newest and most versatile release to date, Bittersweet World, Simpson proudly steps out from behind her more-famous sister’s shadow. Still, the album comes off as more of a Gwen Stefani retrospect, rather than a breakthrough in self definition.
Bittersweet World, musically, is very solid, with outstanding production credits shared by The Neptunes’ Chad Hugo and the invincible Timbaland. By far and away, this is Simpson’s strongest vocal outing to date. But song after song reminds me of Stefani, from the early No Doubt days to the more polished, recent solo efforts. The comparison is impossible to ignore, but that does not by any means make this a bad record. It’s actually good — really good — from the opening track, “Outta My Head,” with its pulsing ‘80s new wave beat, to the reggae-infused “Murder,” in which Simpson demonstrates a vocal prowess we had yet to hear from her. Other standout tracks include the playful, beat-heavy “Boys,” and the most Hugo-inspired track, “Hot Stuff,” which has the Neptunes-like funkiness. And then there’s “Little Miss Obsessive,” a duet she performs with Tom Higginson of Plain White T’s. By all pop-rock standards, this tragic breakup tale is arguably Simpson’s best recording to date. Its balladic verses are nicely balanced by the guitar-driven chorus and a catchy hook, and again great vocals. Thus, Simpson assumes her reign as the new pop-punk princess, dethroning the often annoying Avril Lavigne.
As the best album of her still developing career, Bittersweet World shows some promise that Simpson just may come into her own, after all. It’s way better and a lot different than her sister’s last release, which hopefully will begin to squash critics’ apparent need to compare the two. But until she puts out something original enough to set her apart, she may find herself again trying to convince us of who she really is. Her struggle to express her artistic individuality isn’t over yet. One may even anticipate her fourth release, This Is Ashlee Simpson.
But even if she were to release a musical masterpiece, she’d still find herself on the pages of trashy magazines, which won’t mention her great new album, but will mention what cosmetic surgery she’s had done, who she’s dating (Pete Wentz), and even her sister’s reported jealousy of her pregnancy. It’s enough to make the spotlight feel all too bittersweet.