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On her latest effort, “London Queen,” British export Charli XCX marvels at her newfound success across the pond: “I never thought I’d be living in the USA / Doing things the American way.” Indeed, the songstress’s utter domination of international pop charts, buoyed by her appearance on Iggy Azalea’s ubiquitous summer jam “Fancy” and the irresistible, sing-along chorus of her own “Boom Clap,” has been both unexpected and meteoric. XCX’s newest track, however, could slightly hamper her rapid ascent to stardom.

“London Queen,” off of XCX’s eagerly anticipated sophomore major-label release, “Sucker,” represents a stark change in sound for the artist. Though both her 2013 commercial debut, “True Romance,” and “London Queen” are saturated with bubblegum pop and an undeniable, unapologetic girl-power message, the latter eschews her typical army of synthesizers and shimmering electronic aesthetic for hand-claps and a barrage of electric guitars. With the relentless drumbeat and vocals imbued with tongue-in-cheek rebelliousness, XCX seems to be abandoning her trademark slick, beat-heavy production for a more raw, pseudo-punk vibe. Unfortunately, the result is strident, irritating, and most egregiously, unoriginal. While XCX endeavors to paint herself as the hip lovechild of Blondie and Bow Wow Wow, she instead sounds like a poor man’s Avril Lavigne.

XCX is definitely talented, but her growing success is most attributable to her unique fusion of electronica and debauchery-glorifying lyrics, as displayed on her first album. If the “London Queen” aspires to cement her place amongst American pop royalty, she should further cultivate the singular musical identity that first endeared her to the public—plucky, electro-pop pixie—rather than emulate her pop-punk predecessors.

“Sucker” is due out Dec. 12 via Asylum Records.