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arsonist samael
07-05-2010, 07:52 PM
http://www.youtube.com/watch?v=Cr-SqRWImmI

An interesting choice for a single. I thought it was going to be Shampain. :( That song deserves a stellar video.
Not sure how I feel about the video or the song (not one of my favs) but she is so adorable. Love her.

ebby
07-05-2010, 08:01 PM
Shampain does indeed need an awesome video, but I guess there's time yet still :)

SrslyChris
07-05-2010, 08:34 PM
Oh No is one of my favorite songs on the album and I really enjoyed the video, even if it is a little cheesy.

The Markness
07-05-2010, 08:51 PM
Yeah, I like Oh No, but in a lukewarm sort of way. Definitely not a "single," imho. If they weren't going to do Shampain, they should have done Are You Satisfied, for my money.

The video is cute, though!

limnrix
07-05-2010, 09:19 PM
I think Oh No! is my favorite song on the album so I'm happy it's a single, but that video... well, Marina's always a bit generic.

C33
07-05-2010, 10:24 PM
I totally see the Madonna influence when I watch her videos (in a good way). Maybe she'll take a stab at acting someday. She certainly knows how to work a camera.

Scott
07-06-2010, 02:31 AM
Oh No! is one of my favorites from the album.

The video? Not so much. It's kind of stupid and I don't want to see it again.

Tarendai
07-06-2010, 04:15 PM
I wasnt too keen on the video either, just as she sounded kinda meh when she sang live on TV at festivals, but I love the album still

arsonist samael
11-04-2010, 07:58 AM
http://www.youtube.com/watch?v=XLLea0xBsHA&feature=player_embedded

Pupate
02-01-2011, 05:36 PM
So, two demos from her second album have leaked; they're titled "Sex, Yeah" and "Living Dead". I like them a lot! The song writing is much better than some of what I saw on The Family Jewels. I have higher hopes this time around. I've embedded Youtube videos of the two songs below, but who knows how long they'll stay around, so if they're gone, just search for them on Youtube. Someone is bound to reupload them.




http://www.youtube.com/watch?v=W4Ep5LcSiMA


http://www.youtube.com/watch?v=FHbo6fXrmMo

C33
02-13-2011, 07:35 PM
Marina is such a star! Her music videos are the best! She's so much fun to watch.

Here are some of her favorite music videos:


http://www.youtube.com/watch?v=DRCmqVEWbCQ

AshaBlack
05-07-2011, 05:32 AM
I like her voice and her style. From her album I like "Are You Satisfied?" and "Shampain"... but her lyrics are too autobiographical. I think she didn't write such literall lyrics her songs would be easier to listen to. I can't listen to some of the tracks coz I'm not Marina Diamandis.. They're about her and her only lol.

The Markness
05-07-2011, 06:46 AM
her lyrics are too autobiographical. I think she didn't write such literall lyrics her songs would be easier to listen to. I can't listen to some of the tracks coz I'm not Marina Diamandis.. They're about her and her only lol.

...really?

parasol prude
05-09-2011, 02:28 AM
Then that would go for almost every artist out there. I relate to all her songs.

AshaBlack
05-09-2011, 06:08 AM
Uhh no.. its not like every other artist out there.

I havent gone to Hollywood and I havent had a record deal, her lyrics are too literall - thats what I meant. Not saying she's bad. I like her songs but just not all of them ;)

Ms. Shart O'Nay
05-09-2011, 04:19 PM
I KNOW what you mean. When I buy my $6 bottle of Andre, it's spelled champagne. SHAMPAIN makes me feel really alienated from my own alcoholism. But you know, when I feel like I can't relate to that song or, like, Mowgli's Road (I didn't WRITE the Jungle Book ya know???%?), I just listen to I Am Not a Robot. I'm not, so I feel like Marina's really singing from her heart right to me.

AshaBlack
06-05-2011, 12:21 PM
I take back what I said before. I think I judged the album prematurely. I love it now. Hollywood, I Am Not a Robot, Shampain, Are You Satisfied?, Mowgli's Road, Girls, Obsessions.. awesome.

the album is self-absorbed, self-obsessed, sarcastic, bitchy, but it all works. The only song I don't like all that much is Oh No!

eresos
06-26-2011, 01:25 AM
saw her play last weekend - she played a new song: Living Dead. the video also links to two other new songs :)


http://www.youtube.com/watch?v=05Cn18AQw7o

Andyland
06-26-2011, 01:39 AM
I'm not usually one to nitpick about an artist's appearance...but Marina's hair at the recent Philly show was almost distracting. It was shorter, and a lighter color, but also HUGE and puffed out. She's still lovely, but it was startling. At first I thought it was a wig that she was going to slip out of after the first song or so.

eresos
06-26-2011, 04:21 AM
at the asbury park gig she mentioned that her drummer had cut it or something...it seemed very 80s I thought and added to the whole 80s retro thing she was doing but I could see how it would be off putting for one used to her long dark sleek hair...
beside issues with her hair, how was the philly show btw

AshaBlack
08-09-2011, 02:21 PM
New Video & New Song "Fear and Loathing"

Marina and the Diamonds has released a new song online, described as a "preview of an album track".

The song, titled 'Part One: Fear and Loathing', was posted on YouTube earlier today. The track is the first piece of new material from Marina and the Diamonds - the stage name of Marina Diamandis - since last year's debut album The Family Jewels.

Diamandis will release a 'Part Two' on August 15 at 4pm. The video sees the singer cutting off her hair in a hotel bathroom.

Marina and the Diamonds' second album is yet to receive a release date. The video hints at a possible album title, with the words "ELECTRA HEART: THE START" appearing.

The video also reads: "Electra Heart epitomises and embodies the lies, illusions and death of American ideologies involved in the corruption of self."

I don't know how to post youtube videos so here is the link to watch the official video:
http://www.youtube.com/watch?v=9txg0XicoJ0

Jake
08-09-2011, 05:12 PM
Love the sound of the concept...and that's it. I just cannot get into her! I tried really, really hard but there is an emotional connection missing from her music for me.

WhoIsThisTerrorist
08-09-2011, 08:49 PM
Love the sound of the concept...and that's it. I just cannot get into her! I tried really, really hard but there is an emotional connection missing from her music for me.

Gaga has zero emotional connection but you choke on her dick regularly. I is confused.

eresos
08-09-2011, 09:06 PM
try catching a live show - that is what usually does it for me and what pushed forward my tori addiction from like to love. something about seeing the music come to life and feel their physical presence in the air and through my body is just magic. feeds my cells & my soul.

C33
08-09-2011, 09:12 PM
Oh! Does this mean we get to start debating Gaga in the Marina thread now too? It's so exciting.

Anyway.. I was hoping for less bitter-angsty music by the second album. Based on the new material I skimmed through a while back, I'm not sure if that'll happen but this song is a step in the right direction. I like!!


http://www.youtube.com/watch?v=9txg0XicoJ0

Jake
08-09-2011, 09:17 PM
Gaga has zero emotional connection but you choke on her dick regularly. I is confused.

I'd say let's take it to PM if you really want to debate that, but there's no need to waste time or energy debating that with someone who has a Bionic avatar. Carry on.

And thanks eresos, I wouldn't mind seeing her live to see how her music translates. Maybe the bombastic-ness wouldn't be as try-hard with live instruments, etc.

The Markness
08-09-2011, 09:39 PM
LOVE the new song, and I like the vid, too! Looking forward to the album!

AshaBlack
08-09-2011, 11:49 PM
I love the new song as well. Looking forward to the album. I really like the way The Family Jewels has grown on me so I'm hoping this one is just as good or better. I'm looking forward to seeing the next 2 installments for the Fear and Loathing video.

AshaBlack
08-09-2011, 11:51 PM
I don't like GaGa one bit but obviously a lot of people here like her, so why do people have to refer to her in a negative way in every thread. It's about respect. Anyways, for future reference, how do you post a youtube video?? lol

toriMODE
08-10-2011, 05:30 PM
Under Quick Reply there is a film strip icon that you click on and then paste into it the youtube link.

AshaBlack
08-11-2011, 02:29 AM
thanku

toriMODE
08-11-2011, 06:45 PM
I am really loving Fear & Loathing! I love the production of it and vibe!

Pupate
08-22-2011, 11:27 AM
New song and music video!


http://www.youtube.com/watch?v=dU7GoCKSQfg

I love it.

Nick
08-22-2011, 01:35 PM
Oh I like! She's really toned down the whole persona, and so far the vocals for this album sound much much better for it. I definitely like the first new song better, but Radioactive will be a good gym track :)

Spartacus
08-22-2011, 02:46 PM
She has turned generic. She sounds like every other chart artist. Not liking at all.

Ms. Shart O'Nay
08-22-2011, 04:39 PM
I wasn't much into the first track, but I love this one, even if the sound is a bit early-90s-dance-music for my taste. I'm definitely not hearing 'generic' though - her voice is so distinctive, and it may be club/techno-esque, but it's certainly not in a Ke$ha/Britney/Katy Perry vein. Love the video, too. Think I found my new crush in her video-man.

Andyland
08-22-2011, 04:55 PM
I'm pretty bored with this new stuff, but we'll see what the rest of the album offers.

Whappo
08-24-2011, 07:08 AM
I like Radioactive, even if the Bat For Lashes styling is a little overbearing. Fear & Loathing is okay, but rhyming "screw you over" with "get to know ya" - urgh.

Anyway. Radioactive doesn't strike me as terribly generic - it has the trappings of a lot of dance singles, but the video has a lot of charm and she leaves enough of a mark on the song that it keeps my interest. And honestly, if it's a choice between stuff like this and the obnoxious, half-baked debut, I know what I'm choosing. Most of that album was just fucking annoying, and Oh No (which wasn't a bad single) had SUCH A TERRIBLE VIDEO.

Ms. Shart O'Nay
08-24-2011, 04:43 PM
I'm also a bit surprised that anyone would consider her first album particularly "original." If anything's kept Marina from being just another in a long line of generic female-fronted electro dance acts from the last couple of years, it's her fantastic vocal performances. I like her for sure, but it's not because I think she's doing something really "different" from what's out there at the moment. So far as I can tell, she's following a trend - I'm interested to see where her career takes her more than where it's already been.

Whappo
08-24-2011, 04:54 PM
^Exactly.

People have a habit of putting some pop musicians on higher pedestals, claiming that they are MORE RILL and AUTHENTIC than others. They are so much more ORIGINAL. And then when they release something that's geared towards the charts so that their label (which sees them as a pop act) doesn't dump them, there are tears before bedtime.

Yes, Marina does have more of a hand in the songwriting and creative aspects than some pop starlets, but also? People with songwriting and production credits on her first album include someone responsible for Dido songs and 'Theme From S'Express' and someone with strong connections to multiple manufactured pop groups and The X Factor. That she's now collaborating with Dr Luke, Stargate, Guy Sigsworth and Diplo is hardly a surprise or a sin.

I mean, if you still want her to be a pretentious knob, just read what she's saying about Electra Heart. "It's not an alter ego! That would be a cliche! Instead she's my dark side, and the dark side of AMURKAH." Cool story, Tori Amos/Natasha Khan.

Andyland
08-24-2011, 05:36 PM
Maybe original isn't the right adjective for her first album, but I definitely think it stood out from the crowd more than this new sound does. There was a quirky Kate Bush-esque sound on the first record that, while perhaps not original, was different from typical mainstream pop.

Whappo
08-24-2011, 05:54 PM
I'd say there's a good chance she'll have some different 'unique' sounds here. Diplo never does any wrong, and Radioactive has been chosen as a lead single for a reason. I actually think it elevates the current crop of dance-pop quite a bit - her voice and attitude actually give it a personality.

samko
08-26-2011, 11:58 PM
I actually liked her first album, but this is just bad. this sounds totally dated, sorry.

eresos
12-11-2011, 07:48 PM
anyone know what happened to the new album?

toriMODE
12-11-2011, 07:51 PM
Electra Heart is to come out in 2012.

eresos
12-11-2011, 09:58 PM
thank. you.
thought it was coming out this year....

C33
12-29-2011, 06:54 PM
I've been listening & enjoying her album a lot more lately. Perhaps I'm just more into the mood of the album. + The visual side of it is so strong that maybe I needed some time for the dust to settle and the two to separate a bit.

BettahDevil
01-03-2012, 07:58 PM
I cannot stop playing Oh No!

Bastien
01-15-2012, 05:45 AM
http://www.youtube.com/watch?v=QB7nK4CQP5g&feature=related

Didn't see this posted. I just ran across it, oh MY god! I love this version, and her voice sounds just fantastic.

BettahDevil
01-16-2012, 12:18 AM
I watched her Glastonbury performance from 2010 and her at the Blue Ball Festival (umm, ok) from last year.. and I am SO impressed! She is such a good live performer. I love her quirkiness (reminds me a lot of early Kate Bush performances), and her live vocal is almost always amazing. I am blown away and I really, really need to see her live now!

Pupate
02-25-2012, 06:35 PM
New song!


http://www.youtube.com/watch?v=rN0eFK_hSUc&feature=related

Beulah Land
02-25-2012, 10:14 PM
Not bad, gotta listen to it a few more times to get into it. When is her album coming out anyway? I've been waiting for freaking ever!

Beulah Land
02-25-2012, 10:28 PM
Ok now I like listened to it 5 times in a row and I love it! Gah I want her new album NOW!

BettahDevil
02-26-2012, 11:21 PM
I've had some of the newer demos on repeat.. I seriously cannot wait for the album.

BettahDevil
03-01-2012, 06:28 PM
Album cover + tracklisting! Radioactive will probably be a special edition track, there are going to be 4, she's announcing them later today. :)

http://img.photobucket.com/albums/v216/BottledErotica/e7cf2a55.jpg

http://img.photobucket.com/albums/v216/BottledErotica/7d624116.jpg

C33
03-01-2012, 08:22 PM
^ Awesome!

I love that Fear & Loathing is the last track.

Beulah Land
03-01-2012, 08:44 PM
I really hope Radioactive and Scab & Plaster show up somewhere, like the special edition.

The Markness
03-01-2012, 10:09 PM
Yay! I'd really like to see her live, I've been watching some recent/near-recent live performances on YouTube and she's so good!

BettahDevil
03-01-2012, 11:26 PM
^ Awesome!

I love that Fear & Loathing is the last track.


I agree! I really like Sex Yeah + Jealousy.. as much as i'd like more new tracks, i'd love to see those get a release too.

AshaBlack
03-02-2012, 04:51 AM
I hope it's as good as the family jewels. I don't like radioactive n homewrecker all that much

Ms. Shart O'Nay
03-02-2012, 03:55 PM
So is there a release date yet? Seems this has been a long time coming!

menju56
03-02-2012, 03:56 PM
It's out on April 30th in the UK; first single "Primadonna" out April 16th.

toriMODE
03-02-2012, 06:26 PM
Looking forward to it!

Whappo
03-04-2012, 11:52 AM
Radioactive is the best thing she's done, she needs to get a grip. THE WORLD NEEDS TO GET A GRIP AND RECOGNISE RADIOACTIVE'S BRILLIANCE.

Pupate
03-04-2012, 12:50 PM
Radioactive is the best thing she's done, she needs to get a grip. THE WORLD NEEDS TO GET A GRIP AND RECOGNISE RADIOACTIVE'S BRILLIANCE.

NO! SHE HAS SOLD OUT! SHE HAS BECOME LIKE EVERY OTHER BANAL POP STAR OF THE MOMENT - KATY PERRY, KE$HA, LADY GAGA, RIHANNA, ETC. MARINA WAS UNIQUE AND TALENTED. WHAT HAPPENED? SHE'S SO MAINSTREAM NOW. LOOK, SHE EVEN DYED HER HAIR BLONDE TO BE LIKE LADY GAGA.

BettahDevil
03-08-2012, 11:09 PM
Deluxe edition tracks! Finally!

13 Radioactive
14 Sex Yeah
15 Lonely Hearts Club
16 Buy the Stars

Yay! Sex made it! I don't know if she's been performing the other songs, but I have not heard them.. excited!!

edit: Oh, and pre-orders are available on her site now. I believe the deluxe/box set comes with trinket goodies ala Tori.

Simon
03-09-2012, 05:22 PM
Well there was a video for Radioactive

C33
03-11-2012, 04:33 PM
^ which will continue to get tons of views on YouTube, because all of her videos are awesome.


I believe the deluxe/box set comes with trinket goodies ala Tori.

and she's doing archetypes!

MrQuin
03-12-2012, 10:17 AM
Not thrilled about Primadonna nor Homewrecker. Pretty one-dimensional songs to me.

menju56
03-12-2012, 04:08 PM
http://www.youtube.com/watch?v=Gj5L9SYhoSE&feature=plcp&context=C4b5fd5dVDvjVQa1PpcFOD03Vq2AvzmzfZ1F5_o9wiTdPyDVwlN18=

Beulah Land
03-12-2012, 08:57 PM
The video and song are amazing! So in love with this era so far.

SrslyChris
03-12-2012, 10:53 PM
Her roots are killing me.

BettahDevil
03-13-2012, 10:31 PM
I LOVE it! And it's... so.. Marina! Kinda makes me think of Hollywood. I love her with the rollers and the exercise bike! What a fun, fabulous song.. going to be my summer jam for sure.

menju56
03-19-2012, 08:15 PM
http://www.youtube.com/watch?v=S8httDjxJqI

Pupate
03-19-2012, 08:18 PM
Wow, that's the best her voice has ever sounded "live." I have always considered her kind of weak as far as her voice goes when she sings live, so this is a nice change.

WaterSerpents
03-20-2012, 04:01 AM
^ wow, really?? For me its the complete opposite. Her voice is so strong, rich and interesting live.

I dont like Primadonna all that much. And radioactive is ehhh. Fear & Loathing is great, so I'm holding out that this album will be as good as her debut.

C33
03-20-2012, 09:47 PM
http://www.youtube.com/watch?v=S8httDjxJqI

Very nice! I love the Omnichord.

Jake
04-12-2012, 05:26 PM
I really want this album!

Clips of everything -

http://ohnotheydidnt.livejournal.com/68143472.html

The Markness
04-12-2012, 05:32 PM
Whee! And I just saw the acoustic version of Lies on her YouTube, too, it's wonderful!

Beulah Land
04-12-2012, 05:41 PM
I really want this album!

Clips of everything -

http://ohnotheydidnt.livejournal.com/68143472.html

It's not being released in the US until July so I'm ordering the UK deluxe version as soon as it's released. There's no way in hell I'm waiting any longer.

BettahDevil
04-13-2012, 12:27 AM
Clips of everything -

http://ohnotheydidnt.livejournal.com/68143472.html

Oh my gah.. I am too excited now. Cannot wait. I still hear some Family Jewels essence which is very nice! It sounds as tho all of the leaked songs, only Living Dead has been changed (slighty, but for the better). There have been rumors of a leak happening any moment now, but nothing yet.

menju56
04-13-2012, 10:05 AM
Live breakfast TV performance this morning


http://www.youtube.com/watch?v=lI0EsiQcO58&feature=youtu.be

Jake
04-13-2012, 01:36 PM
Very nice!! I like the way they used the camera on her. She has a clear aesthetic for this era and I love how committed she is. Haven't seen many live performances from her so I don't know how that compares, but she sounded great.

C33
04-13-2012, 02:01 PM
I like the way they used the camera on her.

Me too. I almost wondered if she brought her own people in to shoot.. because that's some pretty excellent camera work and production for a morning show.

Either way, the camera LOVES her!

Pupate
04-17-2012, 12:57 AM
Am I really the only one that thinks she isn't so great live? I was cringing whislt watching that video :(. She just sounds like she's struggling the entire time. The only good parts are the parts with the backing vocals.

Ms. Shart O'Nay
04-17-2012, 02:14 AM
^ Well, she says in the interview that she has some sort of vocal chord damage at present & is on strict orders to be silent except for her promotional shit. Personally, I actually thought her rough vocals in the performance give the song a nice edge that's missing a bit in the studio cut. I love both (and the acoustic!), but I think that TV version is probably the most interesting cut of it thus far. I've really come around to all the songs released so far now--particularly this one and Radioactive.

BettahDevil
04-17-2012, 09:24 PM
Clips of the deluxe tracks now up - http://www.amazon.co.uk/Electra-Heart/dp/B007USLODC/ref=dm_ap_alb1

Sex Yeah sounds totally different! And OMG, Buy The Stars sounds like Numb part 2!! <3

Pupate
04-18-2012, 03:45 PM
Here (http://sam-pop.tumblr.com/post/21243772321)is the full version of "Sex Yeah."

Pupate
04-18-2012, 05:09 PM
Here (http://bugbones.tumblr.com/post/21329402141/boyfriend-justin-bieber-cover-marina-the)is Marina's cover of Justin Bieber's "Boyfriend." It's actually quite nice, and her voice sounds much better, in my opinion.

BettahDevil
04-19-2012, 12:46 AM
Here (http://sam-pop.tumblr.com/post/21243772321)is the full version of "Sex Yeah."

It sounds so great all cleaned up! I'm so glad this one made the record. I want it now!

menju56
04-22-2012, 05:13 PM
"Primadonna" enters at UK #11, making it Marina's highest-charting single to date (previous was "Hollywood" which made #12). However, it was Top 10 all week but at the end seems to have been pipped at the post by Bieber's "Boyfriend," the very thing she did for Live Lounge.

Meanwhile, a three-song acoustic EP has been made available on her site for £1.99.

Jake
04-22-2012, 05:33 PM
Arghhh Marina. So close!

Andrew
04-25-2012, 06:40 PM
It has leaked, apparently.

Jake
04-25-2012, 06:51 PM
^'Tis true! Listening now. I'll be buying the deluxe ASAP, the visuals are just as fun as the music.

I'll post my thoughts after a few straight listens.

Andrew
04-25-2012, 07:46 PM
Here's a thought after one straight listen: meh.

It gets off to a good start - Bubblegum Bitch is a powerful opener (welcome to the world of Electra Heart!) and Primadonna is still fab, but then Lies is a bore, Homewrecker and Starring Role land just right of the mark and after that there are several unremarkable, indistinguishable dance tracks one after another. I really dig Teen Idle (super super super! suicidal), though it never really explodes in the way I want it to, and Valley of the Dolls is pretty awesome (catchy, weird, epic, creepy). Fear & Loathing is a nice closer

Dunno, I'd probably give it a C+. Listening again now.

Simon
04-25-2012, 08:39 PM
Listening to this while working ...
And its not bad but it just feels like a one long song

Jake
04-25-2012, 08:44 PM
^That's how I felt about The Family Jewels. Having heard a bulk of the songs already, maybe that's why this feels more varied to me. But I think the phrasing and lyrics remind me a lot of the last album, just presented in a different production style.

I love what I hear after 2 listens, but still need a couple more.

menju56
04-26-2012, 09:08 PM
Haven't heard the album yet but I have been informed that the HMV deluxe signed edition is on the way :)

Meanwhile, the first reviews of the album are starting to come in. So far, they're a bit mixed.

The Guardian (3/5)



http://static.guim.co.uk/sys-images/Admin/BkFill/Default_image_group/2012/4/25/1335370062362/Marina-Diamandis-of-Marin-008.jpg

Last August, Marina Diamandis gave a confusing interview to the website Popjustice. She explained her change of direction, from the self-consciously arty singer-songwriterisms of her 2010 debut The Family Jewels – with its similarities to Sparks and Lene Lovich – to the more straightforward pop approach of Electra Heart, an album assembled by a selection of writers and producers for hire who have previously turned out hits for Ronan Keating, Dido, Katy Perry and Britney Spears. The shift was so radical, she said – "the antithesis of everything I've done so far" – that she had created a character to perform the new material, called Electra Heart, whose videos had a "Mulholland Drive/Paris, Texas vibe": cue footage of Diamandis in a blond wig and pastel-shaded 50s clothes, smoking insouciantly and trashing sleazy motel rooms with her bad-boy boyfriend. "She stands for the corrupt side of American ideology, and basically that's the corruption of yourself," she said, adding: "Everything I'm not, I'm becoming."

Those cursed with a suspicious nature might suggest this whole I'm-actually-making-a-mainstream-pop-record-as-a-metatextual-comment-on-both-mainstream-pop-music-and-the-ability-of-ambition-to-corrupt angle sounds not unlike the kind of thing a smart woman might come up with after her record company had examined the sales of her debut album and suggested she either stop making records that sound like Sparks and get in the studio with the bloke who wrote I Kissed a Girl or consider gainful employment elsewhere. But the real problem is that since that interview, another female singer-songwriter has emerged playing a character that portrays the corrupting, tragic side of the American dream with a distinct Mulholland Drive/Paris, Texas vibe – sleazy motels, insouciant smoking, pastel-shaded 50s clothes and bad-boy boyfriend all included. It would appear any similarity to the former Lizzie Grant is purely coincidental – certainly Electra Heart sounds nothing like Born to Die – so it's hard not to feel a bit sorry for Diamandis, who now finds herself promoting her new direction while apparently dressed as Lana del Ray.

The best tracks on Electra Heart are, in fact, not the ones involving the big-name songwriters. These range in quality from decent – the single Primadonna – to perfunctory to flatly appalling: the sub-Womanizer stomp of Homewrecker, which, alas, offers Diamandis an unmissable opportunity to rap in one of the patent funny accents that made The Family Jewels so trying. What they noticeably fail to do is what you presumably employ a big-name songwriter for: deliver the kind of melodic sucker-punch that allows them to transcend their generic musical backing.

In fact, the album's highlights are those Diamandis came up with in collaboration with the producer of The Family Jewels, Liam Howe. On Fear and Loathing and Teen Idle, they strip back most of that album's excesses to let the melodies breathe and focus attention on Diamandis's singing: coolly enunciated and slightly folky, her voice is much more appealing than you might have realised, overshadowed as it was on The Family Jewels by her apparently unquenchable desire to shriek, deploy a horrible vibrato and do animal impersonations. The former is a ballad that seems to address the artistic confusion arising from her debut album's relative failure; it does that in a more straightforward, affecting way than opener Bubblegum Bitch, a heavy-handed attempt at the kind of self-fulfilling I-will-be-huge prophecy that filled The Fame by Lady Gaga. Teen Idle, meanwhile, twists the cynicism of the whole Electra Heart concept into an intriguingly nasty lyric that subverts the message of a million Hollywood teen films by apparently suggesting adolescents would be better off trying to curry favour with the vacuous social elite in their school than expressing their individuality.

These two songs are good enough to make you wonder what might have happened if Diamandis had just got on with making a second album herself, not worrying too much about commerciality or alter-egos or becoming everything she isn't. Perversely, it's good enough to make you hope it does sufficiently well to grant her another shot. There's clearly an interesting pop star somewhere in there: last time she was submerged by her own zaniness, this time she's somewhere beneath some half-hearted songs, a confused concept and someone else's image. Perhaps next time – if there is a next time – she might come good.


Drowned in Sound (5/10)



Smart pop, in 2012, is practically the definition of a high-wire act. Rely on the supposedly throwaway nature of the medium too much and you'll float away with nobody caring; try and temper it with too much knowing and smarts and the whole thing comes crashing down. So where does Marina and the Diamonds' Electra Heart, with its alter-egos and concepts a-go-go, find itself in relation to the tightrope?

The headline is: pop concept album about a pop star called Electra. In the world of endless pop ladies, it’s supposedly a meta critique of the industry assembly line's effect on those who step off it. Marina's not exactly disguising her touchstones here; opener 'Bubblegum Bitch' finds Marina-as-Electra snarking about how she's "Ms Sugar Pink Lick-a-lick-a Lips", setting out to demolish the cutesy-pie image of just about every girl who came from the Haus of Disney. Elsewhere 'Homewrecker' kindly points out that all girls are nice until "boys and their toys and their six-inch rockets" come along, as justification for Marina-as-Electra being the titular hussy.

'Fame' in Electra Heart land is represented by what seems like endless cheerleader choruses, set against misery and drowning in their own self-conscious irony. 'Teen Idle' finds Marina-as-Electra wishing that her teen years had been spent as "a prom queen fighting for the title/Instead of being 16 burning up the Bible/Feeling super-super-super suicidal." 'Primadonna's bridge, meanwhile, is peppered with the odd "oooh" and "yeah!" chanted with all the enthusiasm of a bored Dalstonite. Deliberately so. Nothing on this album is anything but entirely studied.

Dressing the album up in concepts means we have to assess it in terms of whether Marina actually hits her targets. The album's central conceit is, ostensibly, the blurring of the line where Marina ends and Electra begins. But that only works if it's made crystal clear that is the goal; Electra Heart does no such thing, making it impossible to fathom whether Marina's invented this alter-ego in order to sympathise with or attack. Predictably, the same confusion of motive goes for that aimed at the artist herself.

Inventing an alter-ego to take all the blame ironically has taken all the sting out of Marina's barbs. Mostly, you don't get to critique what you view as the loss of identity, from a self-proclaimed vantage point up on high, if you've sacrificed your own distinctive traits. For all its flaws, The Family Jewels' big selling point was Marina's self-conscious lunacy. And yodelling. More than that, it knew how to have fun with the snark. Electra Heart, perhaps save for the odd “fuck," could have been made by any of the anonymous pop stars Marina claims to be so against, claims to be critiquing, claims to be so superior to. Maybe I've missed the joke, but it doesn't even feel like there's a joke to get.

Unless the concept is rock-solid, listeners aren't going to want to pick apart Electra Heart in the way it wants to be picked apart, literary vultures circling the discarded carcass of Marina's alter-ego. And if the songs aren't communicating those concepts instantaneously, all but the most ardent pop fans simply aren't going to care. The best pop exists on multiple levels; Electra Heart promises those multiple levels but never makes good. The album doesn’t answer the questions it purports to be posing, or even really make clear what those questions are to begin with. It just doesn't go anywhere, really. More infuriatingly, it doesn't even work as the brainless pop it's supposedly critiquing either.

Electra Heart is a reasonably fun listen, and even if it falls short of its stratospheric ambition, still has more to say than many of Marina's contemporaries. But in failing to meet its own ambition, it feels listless. Weighed down by too much pseudo intellect and, crucially, not enough amazing pop songs, this is one tightrope act that was always going to end more with a whimper than a great flourish.


Q Magazine (2/5)



To hear Marina Diamandis talk about Electra Heart you might think she was pop's own Cindy Sherman, playing with different personae to examine the emptiness of the American Dream. The reality isn't quite as subtle. If 2010's The Family Jewels gained comparisons to Kate Bush, the tiring follow-up is more Katy Perry, the quirks of the early work crushed by the thumping pop production like an art-student crushed by a Looney Tunes tonne weight. A raised eyebrow and a smudge of vulnerability (Valley Of The Dolls) isn't enough: Bubblegum Bitch is possibly meant to be ironic, but it doesn't work when set alongside the thud of Primadonna and Homewrecker. At least she's trying to think big, but Electra Heart sounds high on concept, low on songs. (Victoria Segal)
Download: "Valley Of The Dolls"


Digital Spy (4/5)



"It was always going to be tricky leaping into a different genre that's popular at the moment," Marina Diamandis told us last year of her new album. The sound in question is the bubblegum pop one currently owned by the likes of Katy Perry and Ke$ha; and as if the market wasn't crowded enough, she's attempting to crack it off the back of her indie debut The Family Jewels.

Fortunately, those who have heard the record's lead single 'Primadonna' will know she has far from sold out. Sound-wise it has all the calling cards of your typical Dr Luke production - squelchy synths wrapped around a radio-friendly chorus - but it's Diamandis's quirky lyrics ("Beauty queen on a silver screen/ Living life like I'm in a dream"), yodelling vocal and ironic cheerleader whoops that save it from becoming generic fodder.

She continues to play out all manner of American female archetypes under the guise of Electra, largely to great success. Her roles as The Other Woman on bratty and demented 'Homewrecker', the desperate and submissive in Diplo-helmed electro ballad 'Lies' and cutesy airhead in 'State of Dreaming' are the most convincing, most likely because they're as much a part of Marina as her alter ego.

As such, where the character ends and she begins is not always clear, though it's only a problem for the record's sole weak link 'Living Dead'. Elsewhere, the earworm hooks, colossal choruses and sheer barminess ensures that Electra Heart is a thoroughly enjoyable listen throughout - regardless of whether you buy into the concept.


The Independent (2/5)



From opening track, “Bubblegum Bitch”, onwards, Marina and the Diamonds' second album promotes the more mean-spirited and synthetic aspects of childhood aspiration.

Over brutish electro-stomps and fizzy pop trifles every bit as sickly as that suggests, Marina's shrill Violet Elizabeth Bott inflections proclaim her emptiness: “Primadonna” and the perversely triumphalist “Homewrecker” celebrate selfish bitchiness, while vast tracts of the album – “Starring Role”, “The State of Dreaming”, “Living Dead” and more – depict a life of theatrical pretence leading to alienation and feeling “super-super-suicidal”. Ironically, what masquerades as self-knowledge simply serves to conceal the real reasons why she ends up mired in “Fear and Loathing”.

Download: Bubblegum Bitch


Independent on Sunday (3/5)



Having made her name as, essentially, a dumbed-down Amanda Palmer, it's put-up-or-shut-up time for Marina Diamandis.

She's pushed the boat out for her second album and remodelled herself as a British Katy Perry, bringing in the renta-songwriters du jour (Greg Kurstin, Rick Nowels) just to make sure. Electra Heart is too professional to be truly terrible, but it's never clever enough to be more than merely toytown.


The Observer (2/5)



Off-kilter pop siren Marina Diamandis emerged out of Abergavenny via Greece in 2010. To say her second album is the subject of a big label push would be to understate the producerly firepower (Dr Luke, Greg Kurstin) flung at Electra Heart, an album concerned with love, identity, femininity and America. All that topspin allows the quirky Diamandis to make pumping glitz like Britney or Katy Perry while retaining some ironic distance, as she does on "Power & Control", a rotten track. Her Heart is not all as craven as that, but these prom queen themes have had a more intriguing musical treatment from Lana del Rey.


musicOMH (3/5)



It's been two short years since Marina Diamandis released her debut album, The Family Jewels, but a lot's changed since then. The girl-pop market's moved onwards and upwards, with Adele taking her place at the top of the table, Lady Gaga's Born This Way sealing her place as its precocious cheerleader and Lana Del Rey elbowing Diamandis aside to claim her spot as "the kooky one". So it's a credit to her that rather than sulking and coming back with a similar album that, in the shadow of Del Ray's Born to Die, could have sounded dated, she's decided to sock a punch, rip up her own rule book and completely reinvent herself.

The reinvented Marina And The Diamonds ditches her artsy image and the big, theatrical songs that dominated The Family Jewels for something that she describes as "the antithesis of everything I've done so far". Its follow up is something of a concept album, which sees her adopt an alter-ego (or, as she put it "a vehicle to portray the American dream), Electra Heart, to play a series of female roles and take a sideways snipe at the very girls who've barged their way past her.

It starts with a bang. Bubblegum Bitch channels sophisticated flecks of Swedish pop with brassy, Katy Perry-ish cheek. "Ms sugar pink, licka licka lick", she chants, sounding every inch the heavily made-up prom queen, pouting from her album cover. She continues in this vein with songs that, she claims, scrutinise female identity and stereotypes. One of the best, Homewrecker, slaps spoken word warnings about matters of the heart ("Every boyfriend is the one until otherwise proven...and love it never happens like you think it really should") over a vengeful, anthemic track that's sure to mop a thousand teenage girls' tears. Teen Idle sees a fleeting return of the voice that made The Family Jewels; a whispy Kate Bush purr delivers the killer line "I wish I'd been a prom queen fighting for the title, instead of being 16 and burning up the bible, feeling super super suicidal" with something verging on menace.

Single Primadonna is a brilliant air-punching track that looks to Katy Perry and Lady Gaga for inspiration. But if she's trying to make a statement about them, she fails. The lyrics lack the caustic charm of some of the album's better tracks, and Primadonna would actually slot very easily into one of their albums. This is where her concept comes unstuck. Tracks like Bubblegum Bitch make loud, bold, clever statements, but much of the album is the usual fodder - breakups, lost love...and fails to maintain the pace its brighter moments set. This, coupled with the fact that she's brought on board some of the writers who carved hits for the likes of Britney Spears and Katy Perry, sinks what initially seemed like a clever idea.

There are some strong singles which are bound to bounce around throughout the summer, but what comes next will be interesting; with her debut album she showed she can do credible ballads and quirky pop, and Electra Heart showcases glimpses of a clever, ballsy pop star - but which will she settle on?

Pupate
04-27-2012, 12:19 AM
The lyric writing is a lot better this time around, though, no?

Ms. Shart O'Nay
04-28-2012, 01:33 AM
Still getting to know the album--it does have a somewhat same-y style of production, which makes the middle section drag. That said, I'm really freaking loving Teen Idle, Living Dead, Bubblegum Bitch, and Valley of the Dolls. Also still adore Radioactive, Primadonna, and Homewrecker.

eresos
04-28-2012, 05:49 AM
thanks 4 the heads up on the leak!

I only just skimmed through since it is late...but so far meh but hopeful.

I kind of remember liking but loving Family Jewel, but then it grew on me and now I like that one a lot more, so I am going to spend some time with her, take her on some walks, jogs, rides, etc. and then see.

Perky Compson
04-28-2012, 06:20 AM
I am loving this album on first listen, honestly. Teen Idle, Valley of the Dolls, Living Dead, State of Dreaming, Primadonna and Starring Role are all fabulous, and Homewrecker has grown on me significantly since I first listened. I like this album much more than Family Jewels.

menju56
04-28-2012, 04:55 PM
Marina appeared on Graham Norton last night for a performance of "Primadonna" and short interview type thing on the couch


http://www.youtube.com/watch?v=2qkO4BSkFgs

toriMODE
04-28-2012, 07:38 PM
Fear and Loathing remains my favorite after hearing the full album. Such a stellar track! I'm digging the rest of the album as well!

Beulah Land
04-29-2012, 02:19 PM
Loving the album! It's really catchy and fun.

limnrix
04-29-2012, 10:54 PM
The lyric writing is a lot better this time around, though, no?

No.
I mean, I'm inclined to disagree. I think I would enjoy Marina much more if I didn't know English, to be honest. She gets an occasional good line in (you like my dad/you get on well/I send my best/regards from hell), and I admit this album is a little less wincey, but it's still a weak point.

eresos
04-29-2012, 11:31 PM
i've given it a few listens in the car & while jogging. I am quite enjoying it. it is great on headphones.

i don't know if i like the new mix of 'living dead' b/c i was so used to the first version that leaked. the thing that bugs me about it most though is a bad cut at the end.
all the production of it also pales in comparison to the urgency it had on the tour live last year. its still good and fun though

cant wait to see her live again

The Markness
04-30-2012, 03:10 AM
I listened to the first half of the standard edition today and loved it. :)

BettahDevil
04-30-2012, 08:42 AM
Listening again on headphones. I just love it.

Those listening to the standard version... get the deluxe version ASAP. She totally did what Madonna did with MDMA. I like the 3 bonus tracks a lot more than a few of the standard edition tracks. Hypocrates and The State of Dreaming especially. Don't hate em', just sayin'... ;)

menju56
04-30-2012, 12:54 PM
Deluxe signed edition came today. It's a jewel-case CD with a slipcase cover.

http://img99.imageshack.us/img99/55/pc280099.jpg

After one listen - very strong vocals, good melodies, it's solid. The bigger "production numbers" seem to be earlier in the track list, and the album is more ballad or mid-tempo-heavy than I expected. The production style is, for the most part, pretty different to The Family Jewels but there are several songs that are very recognisably Family Jewels-esque in delivery and melody but are given a complete production overhaul. Songs like "Teen Idle" or "Buy the Stars" I could imagine on the first album with a little different production. So it's not hugely, radically different, and her distinctive voice puts her stamp on it. I will obviously be requiring further listening though, most of these were completely new to me.

Nick
04-30-2012, 01:10 PM
As others have mentioned, there are a couple of tracks I don't love (which was not necessarily true on Family Jewels - I never really hit skip on that one)... but overall I might like this album more. All four deluxe tracks are wonderful. Family Jewels was my treadmill CD for a solid month when it came out, and I can easily see this taking up the mantle for quite some time. I already have Lonely Hearts Club on repeat this morning!

menju56
04-30-2012, 02:47 PM
I've been keeping track of the reviews for this album - here they are under the spoiler. (I'll add further reviews to this post as they come in.)



The Guardian (3/5)



http://static.guim.co.uk/sys-images/Admin/BkFill/Default_image_group/2012/4/25/1335370062362/Marina-Diamandis-of-Marin-008.jpg

Last August, Marina Diamandis gave a confusing interview to the website Popjustice. She explained her change of direction, from the self-consciously arty singer-songwriterisms of her 2010 debut The Family Jewels – with its similarities to Sparks and Lene Lovich – to the more straightforward pop approach of Electra Heart, an album assembled by a selection of writers and producers for hire who have previously turned out hits for Ronan Keating, Dido, Katy Perry and Britney Spears. The shift was so radical, she said – "the antithesis of everything I've done so far" – that she had created a character to perform the new material, called Electra Heart, whose videos had a "Mulholland Drive/Paris, Texas vibe": cue footage of Diamandis in a blond wig and pastel-shaded 50s clothes, smoking insouciantly and trashing sleazy motel rooms with her bad-boy boyfriend. "She stands for the corrupt side of American ideology, and basically that's the corruption of yourself," she said, adding: "Everything I'm not, I'm becoming."

Those cursed with a suspicious nature might suggest this whole I'm-actually-making-a-mainstream-pop-record-as-a-metatextual-comment-on-both-mainstream-pop-music-and-the-ability-of-ambition-to-corrupt angle sounds not unlike the kind of thing a smart woman might come up with after her record company had examined the sales of her debut album and suggested she either stop making records that sound like Sparks and get in the studio with the bloke who wrote I Kissed a Girl or consider gainful employment elsewhere. But the real problem is that since that interview, another female singer-songwriter has emerged playing a character that portrays the corrupting, tragic side of the American dream with a distinct Mulholland Drive/Paris, Texas vibe – sleazy motels, insouciant smoking, pastel-shaded 50s clothes and bad-boy boyfriend all included. It would appear any similarity to the former Lizzie Grant is purely coincidental – certainly Electra Heart sounds nothing like Born to Die – so it's hard not to feel a bit sorry for Diamandis, who now finds herself promoting her new direction while apparently dressed as Lana del Ray.

The best tracks on Electra Heart are, in fact, not the ones involving the big-name songwriters. These range in quality from decent – the single Primadonna – to perfunctory to flatly appalling: the sub-Womanizer stomp of Homewrecker, which, alas, offers Diamandis an unmissable opportunity to rap in one of the patent funny accents that made The Family Jewels so trying. What they noticeably fail to do is what you presumably employ a big-name songwriter for: deliver the kind of melodic sucker-punch that allows them to transcend their generic musical backing.

In fact, the album's highlights are those Diamandis came up with in collaboration with the producer of The Family Jewels, Liam Howe. On Fear and Loathing and Teen Idle, they strip back most of that album's excesses to let the melodies breathe and focus attention on Diamandis's singing: coolly enunciated and slightly folky, her voice is much more appealing than you might have realised, overshadowed as it was on The Family Jewels by her apparently unquenchable desire to shriek, deploy a horrible vibrato and do animal impersonations. The former is a ballad that seems to address the artistic confusion arising from her debut album's relative failure; it does that in a more straightforward, affecting way than opener Bubblegum Bitch, a heavy-handed attempt at the kind of self-fulfilling I-will-be-huge prophecy that filled The Fame by Lady Gaga. Teen Idle, meanwhile, twists the cynicism of the whole Electra Heart concept into an intriguingly nasty lyric that subverts the message of a million Hollywood teen films by apparently suggesting adolescents would be better off trying to curry favour with the vacuous social elite in their school than expressing their individuality.

These two songs are good enough to make you wonder what might have happened if Diamandis had just got on with making a second album herself, not worrying too much about commerciality or alter-egos or becoming everything she isn't. Perversely, it's good enough to make you hope it does sufficiently well to grant her another shot. There's clearly an interesting pop star somewhere in there: last time she was submerged by her own zaniness, this time she's somewhere beneath some half-hearted songs, a confused concept and someone else's image. Perhaps next time – if there is a next time – she might come good.


Drowned in Sound (5/10)



Smart pop, in 2012, is practically the definition of a high-wire act. Rely on the supposedly throwaway nature of the medium too much and you'll float away with nobody caring; try and temper it with too much knowing and smarts and the whole thing comes crashing down. So where does Marina and the Diamonds' Electra Heart, with its alter-egos and concepts a-go-go, find itself in relation to the tightrope?

The headline is: pop concept album about a pop star called Electra. In the world of endless pop ladies, it’s supposedly a meta critique of the industry assembly line's effect on those who step off it. Marina's not exactly disguising her touchstones here; opener 'Bubblegum Bitch' finds Marina-as-Electra snarking about how she's "Ms Sugar Pink Lick-a-lick-a Lips", setting out to demolish the cutesy-pie image of just about every girl who came from the Haus of Disney. Elsewhere 'Homewrecker' kindly points out that all girls are nice until "boys and their toys and their six-inch rockets" come along, as justification for Marina-as-Electra being the titular hussy.

'Fame' in Electra Heart land is represented by what seems like endless cheerleader choruses, set against misery and drowning in their own self-conscious irony. 'Teen Idle' finds Marina-as-Electra wishing that her teen years had been spent as "a prom queen fighting for the title/Instead of being 16 burning up the Bible/Feeling super-super-super suicidal." 'Primadonna's bridge, meanwhile, is peppered with the odd "oooh" and "yeah!" chanted with all the enthusiasm of a bored Dalstonite. Deliberately so. Nothing on this album is anything but entirely studied.

Dressing the album up in concepts means we have to assess it in terms of whether Marina actually hits her targets. The album's central conceit is, ostensibly, the blurring of the line where Marina ends and Electra begins. But that only works if it's made crystal clear that is the goal; Electra Heart does no such thing, making it impossible to fathom whether Marina's invented this alter-ego in order to sympathise with or attack. Predictably, the same confusion of motive goes for that aimed at the artist herself.

Inventing an alter-ego to take all the blame ironically has taken all the sting out of Marina's barbs. Mostly, you don't get to critique what you view as the loss of identity, from a self-proclaimed vantage point up on high, if you've sacrificed your own distinctive traits. For all its flaws, The Family Jewels' big selling point was Marina's self-conscious lunacy. And yodelling. More than that, it knew how to have fun with the snark. Electra Heart, perhaps save for the odd “fuck," could have been made by any of the anonymous pop stars Marina claims to be so against, claims to be critiquing, claims to be so superior to. Maybe I've missed the joke, but it doesn't even feel like there's a joke to get.

Unless the concept is rock-solid, listeners aren't going to want to pick apart Electra Heart in the way it wants to be picked apart, literary vultures circling the discarded carcass of Marina's alter-ego. And if the songs aren't communicating those concepts instantaneously, all but the most ardent pop fans simply aren't going to care. The best pop exists on multiple levels; Electra Heart promises those multiple levels but never makes good. The album doesn’t answer the questions it purports to be posing, or even really make clear what those questions are to begin with. It just doesn't go anywhere, really. More infuriatingly, it doesn't even work as the brainless pop it's supposedly critiquing either.

Electra Heart is a reasonably fun listen, and even if it falls short of its stratospheric ambition, still has more to say than many of Marina's contemporaries. But in failing to meet its own ambition, it feels listless. Weighed down by too much pseudo intellect and, crucially, not enough amazing pop songs, this is one tightrope act that was always going to end more with a whimper than a great flourish.


Q Magazine (2/5)



To hear Marina Diamandis talk about Electra Heart you might think she was pop's own Cindy Sherman, playing with different personae to examine the emptiness of the American Dream. The reality isn't quite as subtle. If 2010's The Family Jewels gained comparisons to Kate Bush, the tiring follow-up is more Katy Perry, the quirks of the early work crushed by the thumping pop production like an art-student crushed by a Looney Tunes tonne weight. A raised eyebrow and a smudge of vulnerability (Valley Of The Dolls) isn't enough: Bubblegum Bitch is possibly meant to be ironic, but it doesn't work when set alongside the thud of Primadonna and Homewrecker. At least she's trying to think big, but Electra Heart sounds high on concept, low on songs. (Victoria Segal)
Download: "Valley Of The Dolls"


Digital Spy (4/5)



"It was always going to be tricky leaping into a different genre that's popular at the moment," Marina Diamandis told us last year of her new album. The sound in question is the bubblegum pop one currently owned by the likes of Katy Perry and Ke$ha; and as if the market wasn't crowded enough, she's attempting to crack it off the back of her indie debut The Family Jewels.

Fortunately, those who have heard the record's lead single 'Primadonna' will know she has far from sold out. Sound-wise it has all the calling cards of your typical Dr Luke production - squelchy synths wrapped around a radio-friendly chorus - but it's Diamandis's quirky lyrics ("Beauty queen on a silver screen/ Living life like I'm in a dream"), yodelling vocal and ironic cheerleader whoops that save it from becoming generic fodder.

She continues to play out all manner of American female archetypes under the guise of Electra, largely to great success. Her roles as The Other Woman on bratty and demented 'Homewrecker', the desperate and submissive in Diplo-helmed electro ballad 'Lies' and cutesy airhead in 'State of Dreaming' are the most convincing, most likely because they're as much a part of Marina as her alter ego.

As such, where the character ends and she begins is not always clear, though it's only a problem for the record's sole weak link 'Living Dead'. Elsewhere, the earworm hooks, colossal choruses and sheer barminess ensures that Electra Heart is a thoroughly enjoyable listen throughout - regardless of whether you buy into the concept.


The Independent (2/5)



From opening track, “Bubblegum Bitch”, onwards, Marina and the Diamonds' second album promotes the more mean-spirited and synthetic aspects of childhood aspiration.

Over brutish electro-stomps and fizzy pop trifles every bit as sickly as that suggests, Marina's shrill Violet Elizabeth Bott inflections proclaim her emptiness: “Primadonna” and the perversely triumphalist “Homewrecker” celebrate selfish bitchiness, while vast tracts of the album – “Starring Role”, “The State of Dreaming”, “Living Dead” and more – depict a life of theatrical pretence leading to alienation and feeling “super-super-suicidal”. Ironically, what masquerades as self-knowledge simply serves to conceal the real reasons why she ends up mired in “Fear and Loathing”.

Download: Bubblegum Bitch


Independent on Sunday (3/5)



Having made her name as, essentially, a dumbed-down Amanda Palmer, it's put-up-or-shut-up time for Marina Diamandis.

She's pushed the boat out for her second album and remodelled herself as a British Katy Perry, bringing in the renta-songwriters du jour (Greg Kurstin, Rick Nowels) just to make sure. Electra Heart is too professional to be truly terrible, but it's never clever enough to be more than merely toytown.


The Observer (2/5)



Off-kilter pop siren Marina Diamandis emerged out of Abergavenny via Greece in 2010. To say her second album is the subject of a big label push would be to understate the producerly firepower (Dr Luke, Greg Kurstin) flung at Electra Heart, an album concerned with love, identity, femininity and America. All that topspin allows the quirky Diamandis to make pumping glitz like Britney or Katy Perry while retaining some ironic distance, as she does on "Power & Control", a rotten track. Her Heart is not all as craven as that, but these prom queen themes have had a more intriguing musical treatment from Lana del Rey.


musicOMH (3/5)



It's been two short years since Marina Diamandis released her debut album, The Family Jewels, but a lot's changed since then. The girl-pop market's moved onwards and upwards, with Adele taking her place at the top of the table, Lady Gaga's Born This Way sealing her place as its precocious cheerleader and Lana Del Rey elbowing Diamandis aside to claim her spot as "the kooky one". So it's a credit to her that rather than sulking and coming back with a similar album that, in the shadow of Del Ray's Born to Die, could have sounded dated, she's decided to sock a punch, rip up her own rule book and completely reinvent herself.

The reinvented Marina And The Diamonds ditches her artsy image and the big, theatrical songs that dominated The Family Jewels for something that she describes as "the antithesis of everything I've done so far". Its follow up is something of a concept album, which sees her adopt an alter-ego (or, as she put it "a vehicle to portray the American dream), Electra Heart, to play a series of female roles and take a sideways snipe at the very girls who've barged their way past her.

It starts with a bang. Bubblegum Bitch channels sophisticated flecks of Swedish pop with brassy, Katy Perry-ish cheek. "Ms sugar pink, licka licka lick", she chants, sounding every inch the heavily made-up prom queen, pouting from her album cover. She continues in this vein with songs that, she claims, scrutinise female identity and stereotypes. One of the best, Homewrecker, slaps spoken word warnings about matters of the heart ("Every boyfriend is the one until otherwise proven...and love it never happens like you think it really should") over a vengeful, anthemic track that's sure to mop a thousand teenage girls' tears. Teen Idle sees a fleeting return of the voice that made The Family Jewels; a whispy Kate Bush purr delivers the killer line "I wish I'd been a prom queen fighting for the title, instead of being 16 and burning up the bible, feeling super super suicidal" with something verging on menace.

Single Primadonna is a brilliant air-punching track that looks to Katy Perry and Lady Gaga for inspiration. But if she's trying to make a statement about them, she fails. The lyrics lack the caustic charm of some of the album's better tracks, and Primadonna would actually slot very easily into one of their albums. This is where her concept comes unstuck. Tracks like Bubblegum Bitch make loud, bold, clever statements, but much of the album is the usual fodder - breakups, lost love...and fails to maintain the pace its brighter moments set. This, coupled with the fact that she's brought on board some of the writers who carved hits for the likes of Britney Spears and Katy Perry, sinks what initially seemed like a clever idea.

There are some strong singles which are bound to bounce around throughout the summer, but what comes next will be interesting; with her debut album she showed she can do credible ballads and quirky pop, and Electra Heart showcases glimpses of a clever, ballsy pop star - but which will she settle on?


Metro



Marina Diamandis em-erged a couple of years ago as one of Britain’s more interesting young pop divas.

Her operatic delivery and burlesque persona set her apart from other kooky female singer/songwriters but a big support slot with Katy Perry proved she could more than hold her own on the teen-pop circuit.

Album No.2 drafts in a phalanx of hitmakers (for the likes of Katy, Britney, Lily and Madonna) to give her songs a four-to-the-floor pop crunch.

These machine-tooled settings can get a little schematic but they come to life when topped by Marina’s pitch-black meditations on gender politics.

It lends a wonderful tension to the Morrissey-esque miserablism of The State Of Dreaming, the New Order-ish Power & Control, or the genteel, Neil Tennant-inspired hip hop of Homewrecker.


BBC



Marina Diamondis, aka Marina and the Diamonds, doesn't make things easy for herself. For her follow-up to 2010's excellent debut The Family Jewels, she's created a sort of semi-concept album about female identity, focusing on various character types (Bubblegum Bitch, Homewrecker, Teen Idle etc) and disseminating their traits over throbbing electropop and plaintive piano. Songs focus on a recent breakup, creating a strange dichotomy between tracks that want to be enjoyed from a distance, almost ironically, and those that pull you sharply into her world.

Opening with the fizzing, Avril Lavigne-like stomp of Bubblegum Bitch, a sort of intro to the concept (“Dear diary, we fell apart, welcome to the life of Electra Heart”), it's an album that takes the template of The Family Jewels – slightly off-centre pop songs with dramatic vocals – and refines it. First single Primadonna, produced by pop behemoth Dr Luke, keeps a lot of Marina's charm but bolts it onto a big reverberating beat that explodes into a sky-scraping chorus. The State of Dreaming sounds like Kate Bush (sorry, sorry) fronting Coldplay, while the vampy Homewrecker mixes spoken-word verses with a stompy chorus of “I broke a million hearts just for fun”.

But it's when she's dealing directly with her emotions that Electra Heart shines brightest. Lies – given extra gloom wobble sadness by Diplo – unpicks a relationship falling apart in devastating detail, with Marina's unique voice pushed to the front as the entire song seems to sigh and shrug to an end. Similarly, Starring Role is heart-rending in its simplicity, Marina exposing herself (musically speaking) over a toy box piano riff and drum patters. Perhaps Electra Heart's oddest moment is Teen Idle, wherein the album's two opposing sides merge to create something singular. “I wish I'd been a teen idol, wish I'd been a prom queen fighting for the title / Instead of being 16 and burning up a Bible, feeling super super super suicidal” she sings in a childlike falsetto as a million Marinas repeat the “super super super suicidal” refrain like some mawkish choir.

There are moments where the songs themselves aren't quite interesting enough to prop up Marina's voice; and the inclusion of the teaser single Radioactive would have perked up a second half that sags slightly. But these are minor quibbles. Electra Heart manages to balance the ironic and the heartfelt, the quirky and the mainstream, the real and the fake with remarkable aplomb.


NME (5/10)



Ever since she began, Marina Diamandis has battled with the idea of what it means to be a female pop star. In 2009, she famously blogged about Shakira’s ‘She Wolf’ video, chastising the Colombian singer’s skimpy outfits and cage-dancing. A line in that post seems prescient now: “The reason why I loved Shakira originally was for her strength, self respect and intellect. She obtained worldwide success just by being her very original self.”
But at some point last year, Marina broke with this logic and her very own “original self”. Her 2010 debut ‘The Family Jewels’ may have established her as a songwriter of some dynamism (from the simple but devastating ‘I Am Not A Robot’ to ‘Hollywood’’s pithy articulation of her love/hate relationship with celebutard culture), but it wasn’t enough for her. Last year she was quoted as saying she was “pissed off” that she wasn’t bigger and, in a possibly subconscious (yet explicit) reference to that call-to-arms blog post, said: “The likes of Shakira and Lady Gaga could be my peers.” But to get to the place of pop supremacy she wanted to be at, she had to kill Marina off.

This has paved the way for her polar opposite alter ego, Electra Heart. And if Marina was dolefully self-analytical, EC is
all about gaudy, shiny surfaces and instant gratification. Promo photos have seen Diamandis dolled up with bottle blonde hair, sporting babydoll dresses and giving off a ‘gee, shucks’ sense of Americana. “I want to be a real fake”, she sings on ‘Teen Idle’, a song that sees her offing the Bible-clutching, suicidal girl she once was in favour of a chocolate-cake-eating “21st-century whore” – an understandable sentiment in a world where introspection is on a par with “likes drowning kittens” as an admirable personality trait.

To make her post-modern wheeze chart-friendly, she’s brought in the big Top 40 guns of Stargate (Rihanna) and Dr Luke (Katy Perry), who pair up her operatic vocals with thumping house beats and tinny electronics. It’s a strange marriage of an existential personality crisis spliced over the sound of two-for-one bottles of WKD being bought and dry ice spreading on the dancefloor. Every chart-friendly sound is thrown up against the wall here – pop-punk, dubstep, drive-time rock, Italo disco – but the sense that she’s tragically simplified everything which made her special to begin with is unshakeable, and nothing really resounds until the second half. It’s here that ‘The State Of Dreaming’, the aforementioned ‘Teen Idle’ and the ‘Sweet Dreams’-esque ‘Living Dead’ pair her flighty pop with deeper lyrical themes, and all suggest a depressive coma that would lead anyone – not just Electra Heart – to dress like Shirley Temple lost in a trailer park.

These songs aside, the album as a whole is an expensive-sounding failure. Not sure-footed enough in its subversion, its artificiality feels fake rather than carefully plotted.

Priya Elan


Daily Mail (4/5)



Marina Diamandis shuns her usual offbeat approach in favour of an all-out pop assault on this confident second album.


Daily Express (3/5)



THERE was certainly no lack of star quality in the production box during the making of the second album by Marina Diamand (there are no Diamonds, it’s just her) with the guys behind hits by everyone from Kylie and Katy Perry to Lily Allen and Madonna doing the knob twiddling and you can feel the quality.

Her voice is quirky, fun and often floats very high.

The songs are mostly driving electronica with refreshingly intelligent lyrics. It’s definitely not a by-numbers pop album but there are enough radio-friendly hooks to make it a commercial hit.


The Quietus



The titles alone cause almost physical pain. 'Primadonna' bodes awfulness. The self-aware self-obsession, the nod to Madonna in a year that she herself releases an album called MDNA (because what is it to be a female icon? I'm just worried that no one's really spent enough pop-hours pondering this question). Or Electra Heart itself, with its deathly boring promise of daddy issues.

But to give Marina Diamandis her credit, that was supposed to be the point. In a great early interview on this album with Popjustice's Peter Robinson she clarified that Electra Heart wasn't so much an alter ego as a shadow self; all the worst parts of Marina Diamandis that she didn't want to become.

The idea, and the initial two-song taster of 'Fear And Loathing', the dark Tori Amos-esque track that closes this album and then the giddy, chart-hungry 'Radioactive' boded well for something interesting (even if the mirror gazing haircut/nervous breakdown video for the former should have rung warning bells). A Marina exploring her own defects and difficulties at the same tame as making the most of herself with all the resources available to her could be great. But, as Robinson noted at the time 'I'm playing a character that embodies everything shallow and awful I don't want to be' also offers a whole lot of get-out clause.

By the release of third video 'The Archetypes', the EH concept wasn't looking so healthy, with Marina pouting and swaying, blonde, vacant and Del Rey-ish into the camera as a Speak And Spell voice opined "Electra Heart, are you for real? / For others, we become ourselves... the archetypes." Mmm. And what are those archetypes?

"Housewife. Beauty Queen. Homewrecker. Idle Teen". Um, speak for yourself? I mean, fucking hell, seriously? This is all you've got? The teenage Manic fan's obsession with the iconicity Marilyn Monroe, the Desperate Housewives-style decades-late debunking of wholesome Stepford-wife femininity, tired retreads of Hole's 'Celebrity Skin' and your own 'Hollywood', a bloody song actually called 'The Valley Of The Dolls'?

Still, a shonky concept could be quietly ignored, surely, the tunes being good enough? There's been some fretting about her selling out her individuality to big-name producers, but it's worth remembering that Greg Kurstin and Biff Stannard made appearances on The Family Jewels, and she's never made a secret of her huge pop ambitions. Played right, the presence of Dr Luke and Stargate could have been the engine room that Marina piloted to the heights she's always craved.

And so it was: well, kinda. The Dr Luke-produced 'Primadonna', her biggest ever hit, is decent enough. No faceless banger; it's certainly got more life and thought behind it than similar womping efforts on the Madonna or Nicki Minaj albums, but just doesn't give enough back for its supreme lyrical irritations. The problem here isn't Dr Luke smothering Marina's idiosyncracies so much as Marina/Electra herself crafting them into something paper-thin and paper-cut annoying. "You say that I'm kinda difficult but it's always someone else's fault... Got you wrapped around my finger babe / You can count on me to misbehave... I know I've got a big ego I don't know why it's such a big deal though." Both title and lyrics of 'Bubblegum Bitch', too, are cringeworthy, with all the vapidity promised but little in the way of analysis thereof, though it's a passable bit of Katy Perryish stomp that retains some of her Sparksy, camp oddness. Marina's powerful voice is what carries most of this album, and allows you at first to overlook lines like "I think I want your American Tan / I think you're gonna be my biggest fan". But she just won't either let Electra Heart lie or give you enough of her to make you care; Electra's neither a character nor an alter ego nor a monster; she's an idly drawn doodle.

And if Marina's just dressing up as this narcisstic tosser, like the sexy witch at a Halloween party, she never once lets slip anything that might be genuinely raw or ugly, just that sort of 'oh how sad, my mascara's been still-attractively smeared down my face by my lonely, damaged tears' sort of vibe. Or as she puts it by the camp, Girls Aloudish bounce-and-blart of 'Homewrecker' between excruciating spoken word passsages, by which point it's all getting a little much to swallow, "I guess you'd say that my life's a mess but I'm still looking pretty in this dress".

It's not like self-loving and loathing, fame and identity aren't common enough obsessions in pop. Take Kanye West's My Dark Twisted Fantasy, a platinum-plated ego trip if ever there was one. Yet for all its vicariously enjoyable Pharaonic braggadocio, it was seasoned with feelings of genuine self-disgust, weariness, remorse and self-deprecating humour. All Electra and her supposed deconstruction of American idolatry really seems to be telling us here is that being pretty and famous isn't all it's cracked up to be, and that some days, she's just not entirely convinced she's amazing. I know, my heart's spasming too.

Disappointingly for someone who has the potential to be such a fearsome pop star, the lack of distance between Electra's vapidity and Marina's presence in the more upbeat tracks means that the ballads are much more successful, the moments of vulnerability in the likes of 'Lies' with its stately, dark R&B shimmer and cry of "I just want it to be perfect / To believe it's all been worth the fight", 'The Living Dead''s crisp Gaga-meets-Eurthymics heartbroken-zombie lament or 'Fear And Loathing' allowing some connection where 'Primadonna' and 'Bubblegum Bitch' don't. Not so much 'Starring Role' which equates a breaking down relationship to an unsatisfactory casting and manages to rhyme 'Starring Role' with, er, "supporting role". It's a shame 'Radioactive' wasn't included – it at least had some of the dangerous rush of a crush, the puns ("I'm heading for a meltdown") not obscuring its stardust sparkle.

By the time of 'The State Of Dreaming' what theme there is is more exhausted than a wannabe actress exhausted from a double-shift at the diner and the strip club. The likes of 'Power & Control''s weak electropop and 'Teen Idle''s choral Madonnaism with references to bottle-blondes, cheerleader chants, and "blood and guts and chocolate cake" and "21st century whores" is a fine example of the problems of describing your concept rather than showing it. Over over and over and over a-bloody-gain. "I wish I wasn't such a narcissist / I wish I didn't really kiss the mirror when on my own / Oh man I'm gonna die alone", Marina whispers in the latter. Maybe a little less time for both her and Electra gazing into the glass, and more finding her way out of her own ass, and her career won't have to.


OK Magazine (3/5)



WHAT you need to know…
The eccentric singer is back.

First impressions…

The thing we loved most about Marina when she first crashed into our consciousness a couple of years ago was how she managed to sound both familiar and unlike anything we’d heard before.

But on Electra Heart, her weirder edges have been smoothed away, and she now sounds much like every other pop princess. Primadonna, for example, is a musical photocopy of Katy Perry.

There is some cool stuff, though, including Homewrecker, which could have been on Take That’s last album, and gorgeous synth ballad The State Of Dreaming.

Our favourite track…

The State Of Dreaming.

You’ll like this if you like…

Katy Perry, Pixie Lott, Rihanna.

Did you know?
Katy Perry loves Marina, and tweeted about Primadonna, “We ♥ this song! We ♥ u! RT @Marinas Diamonds: 1 last Primadonna Spam. Thank u so much to everyone who’s been buying it!”

OK! verdict… Hit and miss!


Now Toronto (2/5)



A self-proclaimed DIY pop star with equal amounts of love for Britney Spears and Daniel Johnston, British singer/songwriter Marina Diamandis takes aim at American consumer culture by embracing the conventions of its most marketable music. On her debut, The Family Jewels, this tactic resulted in an interesting but uneasy disjuncture that becomes increasingly problematic on her sophomore effort.

On Electra Heart, Diamandis trades her cabaret post-punk vocal histrionics and thrift-store chic for an unconvincing Jacqueline Susann bombshell image and more overtly top-40-friendly sound courtesy of A-list pop producers Dr. Luke, Diplo and Greg Kurstin. Her husky, swooping voice brims with character, but it’s rarely given room to breathe here, and pairing the blunt metaphorical conceits of songs like Primadonna, Bubblegum Bitch and Homewrecker with equally unimaginative beats results in much middling and unmemorable material.

Things turn around in the third act with gentler and sweetly melodic songs Hypocrates and Fear And Loathing, two songs that end Electra Heart on a high note.

Top track: Hypocrates


Pitchfork (5.9)



Last June, Vanity Fair published a report from a party held in the Hamptons by Disney star Ashley Tisdale. Ke$ha was there, apparently with "a YSL carryall on one arm and postmodernist Fredric Jameson on the other." Asked about her guest, she was quoted as saying, "F is amazing. I'll be, like, complaining about my music video director, and he'll just put everything in perspective by being like, 'The end of the bourgeois ego, or monad, no doubt brings with it the end of the psychopathologies of that ego-- what I have been calling the waning of affect. But it means the end of much more-- the end, for example, of style, in the sense of the unique and the personal, the end of the distinctive individual brush stroke (as symbolized by the emergent primacy of mechanical reproduction),' or something, and he's right." The comment was reported with a certain degree of sniffiness, all "like"s intact: While Ke$ha's apparent ability to recall the kind of quote that it takes most people five minutes to understand is impressive, it does seem incongruous from a woman who routinely asks her live audience, "Is there enough glitter on my titties?" (The answer is never "yes.")

It does make you ask questions about how snobby we can be about these pop and scholarly worlds colliding, associating philosophical nous with supposedly more highbrow musicians, bedroom producers turning out minimal electro whilst studying for their PhD. In Marina Lambrini Diamandis' oft-cited comeback interview with Popjustice last August, she introduced the concept that would lead into her second album: that of Electra Heart, a kind of not-quite-alter-ego/character/affectation/cinematic simulacrum that would feed into the follow-up to her 2010 debut LP as Marina and the Diamonds, The Family Jewels. Representing Greek tragedy, the "loss and failure" side of the American Dream, a daddy complex, and the vacuity apparently lingering inside us all, over six months prior to the eventual release of the LP there was very much a feeling of Marina over-complicating the whole affair: trying to dress up the high-gloss record that she had made with Katy Perry's collaborators (seemingly at the behest of her major label) in layers of philosophy, mythology, artifice, and blonde wigs. (There's a babyish song here called "Hypocrates", misspelled for seemingly no good reason, and with no reference to the philosopher in the song.) It must have stung like billy-o when Lana Del Rey came along and executed precisely what Marina was aiming for, hardly having to open her much-discussed mouth in order to explain herself whilst Marina tied herself in conceptual knots. In short, Electra Heart bears no profound relationship to Greek mythology or philosophical thought beyond exploring situations of basic human pathos (or lack thereof), but its rare affecting moments are heavy with tragedy.

Fredric Jameson's second comment, as recited by Ke$ha, is one that very much applies to Electra Heart. The Family Jewels was disliked by many for its vaudevillian Sparks-like gaucheness, Marina's self-aggrandizement and cock-a-hoop vocal (though there's no doubting the chops of a song like "Hollywood"). But there was a sense of personality to the music as well as Diamandis' deep, hiccupy voice, and a promising sense of audaciousness that's been all but lost here. Working with Dr. Luke, Stargate, Greg Kurstin, and Liam Howe, the songs on Electra Heart fall into three basic categories: the bland, swampy banger (sub-category: "Lies"' Skrillex-lite), a regal, electronic strut falling somewhere between Depeche Mode at their poppiest and the Doctor Who theme tune, and very cloying, nursery rhyme music-box ballads. The campy ding-dong of "The State of Dreaming" is as close as Electra Heart gets to fun, with huge church bells whooshing from side to side in the mix like a pantomime dame testing the trajectory of her ball gown skirts. Relegating great early single "Radioactive" to the bonus tracks on the deluxe version of the LP is nearly as daft as some of the waffle that Marina comes out with here.

Where she proves Fredric Jameson wrong is that there's seemingly no end to "the psychopathologies of the ego" in this instance. Marina really, really wants you to know that she's into pop culture, though the lazy, meaningless strings of references that comprise a good chunk of the songs here aren't any kind of postmodern comment on the Tumblr-ification of society, but just plain bad songwriting. The bombardment of archetypes and clichés is exhausting: "Beauty queen of a silver screen" persuading someone to buy her "a big diamond ring" on "Primadonna"; the titular "Homewrecker" (where excruciatingly bad spoken word verses clash against a pretty triumphant chorus) whose "life is a mess, but I'm still looking pretty in this dress." "Teen Idle" is just horrible, a glitchy ballad that sounds as though it was recorded in a church, where she wishes to be a "virgin pure/ A 21st century whore," "a prom queen fighting for the title/ instead of being 16 and burning up a bible/ feeling super super super suicidal," a chorus of Marinas echoing "super." She wishes for "blood, guts, and angel cake" because "I'm gonna puke it anyway," a weird preoccupation of hers that also crops up in "Homewrecker" ("girls and their cosmic gourmet vomit"), continued from "Girls" on her debut. But as for ending the ego, Marina does seem obsessed with ideas of finality and death-- knowing "where I will belong/ When they blow me out" on the quavering, celestial "Fear and Loathing"-- seemingly finding solace in the reliability of microcosmic, compact celebrity tragedies, perhaps in the face of the parts of this album that ring desperately true.

"You only ever touch me in the dark/ Only if we're drinking can you see my spark," Diamandis sings on "Lies". "The only time you open up is when we get undressed," she laments on "Starring Role", which glimmers like clashing porcelain before a stuttering, empowering chorus where she refuses to be a supporting cast member in an alluded-to love triangle. "Doesn't mean that I am weak," she asserts on "Power & Control", repeating, "I am weak, I am weak, I am weak" in an increasingly ephemeral voice. "Every day I feel the same/ Stuck, and I can never change/ Sucked into a black balloon/ Spat into an empty room" goes "Living Dead", a snappy, taut Soft Cell-like number. It feels like shaky ground to say that these vulnerable moments are Electra Heart's finest, catchiest, and hardest-hitting songs, Marina's soaring vocals packing some genuine emotion, picking up on themes of self-loathing that don't need blasé allusions to bulimia in order to indicate emotional emptiness; where the often transcendent states of sex and alcohol collaborate for profoundly dispiriting experiences. Her honesty, at least, is empowering. Whilst there's no getting past some of the duller and more unbearable material on this record, it's a real shame that it's come hamstrung in this unnecessary concept, ready for people to laugh when Marina fails to pull it off. If she'd made a record full of songs as unaffected as these four, Electra Heart could be one of the year's most acclaimed pop albums. Let's hope there's a next time.


London Evening Standard (4/5)



Her second full-length effort sees Marina taking a plunge into the jacuzzi of celebrity pop foam. With irony and satire strapped to her thighs, the Welsh singer imagines what it might be like to be the ultimate successful bitch, living the dream/nightmare of Californian fame — treating everyone badly, especially the boys who come sniffing around. She won’t like me for saying it, but she clearly relishes the prospect. I don’t have to tell you what Bubblegum Bitch sounds like — it’s all in the title. Marina excels at slower tempos, as in PM, Lies, Valley of the Dolls and The State of Dreaming, where her swooping vocals over an electro-pop beat bring to mind Kate Bush taking the easier option of her earlier days. Best of the lot is Homewrecker, a part spoken-word epic, which the Pet Shop Boys would not have been ashamed to put their signature on.

The Markness
04-30-2012, 07:07 PM
Well, the back half of the album definitely suffers from a sequencing problem. They're pretty much all in that "mid-tempo" range and they kind of run together. Living Dead and Teen Idle stood out, though, and Fear and Loathing is one of my favorite Marina songs, period, off either album.

EDIT: Yeah, two of those mid-tempo tracks in the last half should have been kicked off in favor of Radioactive and Sex, Yeah! Like, total no brainer.

Pupate
04-30-2012, 07:46 PM
No.
I mean, I'm inclined to disagree. I think I would enjoy Marina much more if I didn't know English, to be honest. She gets an occasional good line in (you like my dad/you get on well/I send my best/regards from hell), and I admit this album is a little less wincey, but it's still a weak point.

I agree with you. I think what I meant by "better" is really just less cringe-worthy.

eresos
04-30-2012, 11:30 PM
I just listened to it with the deluxe tracks. love.

buy the stars? (numb) didn't she write that song already ;)
intentional?

menju56
05-01-2012, 12:54 PM
After a day's sales, rather excitingly Electra Heart is currently at UK No.1. No sales info yet so not sure how far in front/whether it will hold on.

howieD
05-01-2012, 01:02 PM
Ouch.

http://thequietus.com/articles/08675-marina-the-diamonds-electra-heart-review

The titles alone cause almost physical pain. 'Primadonna' bodes awfulness. The self-aware self-obsession, the nod to Madonna in a year that she herself releases an album called MDNA (because what is it to be a female icon? I'm just worried that no one's really spent enough pop-hours pondering this question). Or Electra Heart itself, with its deathly boring promise of daddy issues.

But to give Marina Diamandis her credit, that was supposed to be the point. In a great early interview on this album with Popjustice's Peter Robinson she clarified that Electra Heart wasn't so much an alter ego as a shadow self; all the worst parts of Marina Diamandis that she didn't want to become.

The idea, and the initial two-song taster of 'Fear And Loathing', the dark Tori Amos-esque track that closes this album and then the giddy, chart-hungry 'Radioactive' boded well for something interesting (even if the mirror gazing haircut/nervous breakdown video for the former should have rung warning bells). A Marina exploring her own defects and difficulties at the same tame as making the most of herself with all the resources available to her could be great. But, as Robinson noted at the time 'I'm playing a character that embodies everything shallow and awful I don't want to be' also offers a whole lot of get-out clause.

By the release of third video 'The Archetypes', the EH concept wasn't looking so healthy, with Marina pouting and swaying, blonde, vacant and Del Rey-ish into the camera as a Speak And Spell voice opined "Electra Heart, are you for real? / For others, we become ourselves... the archetypes." Mmm. And what are those archetypes?

"Housewife. Beauty Queen. Homewrecker. Idle Teen". Um, speak for yourself? I mean, fucking hell, seriously? This is all you've got? The teenage Manic fan's obsession with the iconicity Marilyn Monroe, the Desperate Housewives-style decades-late debunking of wholesome Stepford-wife femininity, tired retreads of Hole's 'Celebrity Skin' and your own 'Hollywood', a bloody song actually called 'The Valley Of The Dolls'?

Still, a shonky concept could be quietly ignored, surely, the tunes being good enough? There's been some fretting about her selling out her individuality to big-name producers, but it's worth remembering that Greg Kurstin and Biff Stannard made appearances on The Family Jewels, and she's never made a secret of her huge pop ambitions. Played right, the presence of Dr Luke and Stargate could have been the engine room that Marina piloted to the heights she's always craved.

And so it was: well, kinda. The Dr Luke-produced 'Primadonna', her biggest ever hit, is decent enough. No faceless banger; it's certainly got more life and thought behind it than similar womping efforts on the Madonna or Nicki Minaj albums, but just doesn't give enough back for its supreme lyrical irritations. The problem here isn't Dr Luke smothering Marina's idiosyncracies so much as Marina/Electra herself crafting them into something paper-thin and paper-cut annoying. "You say that I'm kinda difficult but it's always someone else's fault... Got you wrapped around my finger babe / You can count on me to misbehave... I know I've got a big ego I don't know why it's such a big deal though." Both title and lyrics of 'Bubblegum Bitch', too, are cringeworthy, with all the vapidity promised but little in the way of analysis thereof, though it's a passable bit of Katy Perryish stomp that retains some of her Sparksy, camp oddness. Marina's powerful voice is what carries most of this album, and allows you at first to overlook lines like "I think I want your American Tan / I think you're gonna be my biggest fan". But she just won't either let Electra Heart lie or give you enough of her to make you care; Electra's neither a character nor an alter ego nor a monster; she's an idly drawn doodle.

And if Marina's just dressing up as this narcisstic tosser, like the sexy witch at a Halloween party, she never once lets slip anything that might be genuinely raw or ugly, just that sort of 'oh how sad, my mascara's been still-attractively smeared down my face by my lonely, damaged tears' sort of vibe. Or as she puts it by the camp, Girls Aloudish bounce-and-blart of 'Homewrecker' between excruciating spoken word passsages, by which point it's all getting a little much to swallow, "I guess you'd say that my life's a mess but I'm still looking pretty in this dress".

It's not like self-loving and loathing, fame and identity aren't common enough obsessions in pop. Take Kanye West's My Dark Twisted Fantasy, a platinum-plated ego trip if ever there was one. Yet for all its vicariously enjoyable Pharaonic braggadocio, it was seasoned with feelings of genuine self-disgust, weariness, remorse and self-deprecating humour. All Electra and her supposed deconstruction of American idolatry really seems to be telling us here is that being pretty and famous isn't all it's cracked up to be, and that some days, she's just not entirely convinced she's amazing. I know, my heart's spasming too.

Disappointingly for someone who has the potential to be such a fearsome pop star, the lack of distance between Electra's vapidity and Marina's presence in the more upbeat tracks means that the ballads are much more successful, the moments of vulnerability in the likes of 'Lies' with its stately, dark R&B shimmer and cry of "I just want it to be perfect / To believe it's all been worth the fight", 'The Living Dead''s crisp Gaga-meets-Eurthymics heartbroken-zombie lament or 'Fear And Loathing' allowing some connection where 'Primadonna' and 'Bubblegum Bitch' don't. Not so much 'Starring Role' which equates a breaking down relationship to an unsatisfactory casting and manages to rhyme 'Starring Role' with, er, "supporting role". It's a shame 'Radioactive' wasn't included – it at least had some of the dangerous rush of a crush, the puns ("I'm heading for a meltdown") not obscuring its stardust sparkle.

By the time of 'The State Of Dreaming' what theme there is is more exhausted than a wannabe actress exhausted from a double-shift at the diner and the strip club. The likes of 'Power & Control''s weak electropop and 'Teen Idle''s choral Madonnaism with references to bottle-blondes, cheerleader chants, and "blood and guts and chocolate cake" and "21st century whores" is a fine example of the problems of describing your concept rather than showing it. Over over and over and over a-bloody-gain. "I wish I wasn't such a narcissist / I wish I didn't really kiss the mirror when on my own / Oh man I'm gonna die alone", Marina whispers in the latter. Maybe a little less time for both her and Electra gazing into the glass, and more finding her way out of her own ass, and her career won't have to.

menju56
05-01-2012, 01:30 PM
The reviews have been pretty negative, it must be said, with the odd positive one here and there.

Meanwhile, the planned UK tour this month has been rescheduled for June as Marina has been ordered to rest her voice.

Here's a new interview



After first hearing about her new album last August, our patience is finally rewarded this week with the release of Marina and the Diamonds' Electra Heart.

In case you weren't aware, we're already quite the fans of the LP, which was co-produced by the likes of Dr Luke, Diplo and Greg Kurstin.

With the album already storming up the iTunes chart, we gave Marina a call to find out whether she is suffering any release-week nerves, her plans to take the album to America and what she makes of One Direction's world domination.

What are you doing at the moment?
"I'm just watching some bum TV at the moment and then I'm off to rehearsals."

What's bum TV?
"The Wright Stuff. I filmed Graham Norton yesterday evening and needed some easy TV this morning. It was great, I was sitting with Joey from Friends and Zac Efron - what more could I need in life?"

Were you annoyed that 'Primadonna' missed the Top 10 at the last minute?
"I was ousted at the end of the week by Justin Bieber. It's a typical week in the life of Marina - getting kicked out by the person whose song you've just covered on [Radio 1] Live Lounge! It's the highest charting single so far so I'm really pleased."

Has it changed your opinion of Bieber's song?
"Not at all. I like him a lot. I wanted to drop a 'swaggee' in the middle of my cover, but I forgot."

Carly Rae Jepsen is number one at the moment with 'Call Me Maybe'. Are you a fan of the song?
"It's weird - everyone knows I'm a huge pop fan, but I think I find that song a bit too happy for me and for once I don't get why something is so huge. I love the video, though."

Are you excited to finally have your album out?
"I'm so excited! I feel like I've waited my whole life for this - it's been so long! It's not like I've been away for ages - I've been feeding new music and images on Tumblr - but I'm going to feel very relieved when it's finally out. I finished the album last October."

Have you recorded anything new since then?
"I haven't actually. I had a very clear idea of what I wanted the album to be. The references and imagery around it are very specific. I've not been in the frame of mind to record anything new for a while."

Do you have any favourite songs on the record yet?
"'Bubblegum Bitch' and 'Teen Idle' I'm really desperate for people to hear. We're deciding on the next single this week and I have no idea what I want to put out next! There are two or three that are up for debate."

Have you read any reviews yet?
"I've read one in Attitude which was nice, but no others yet. I turned off my Google alerts in 2009 as I learnt that following yourself on the internet very quickly becomes unhealthy. Reviews are funny things, they don't dictate whether it's going to be liked or not. I know I'm like Marmite - some journalists will get it and others won't. I'm sure my management will send me all the nice ones, though!"

You've worked with some big name producers on the record. Are there plans to take it to the US?
"Definitely. I think it's going to fare better out there than the first album. I wrote it there and the lyrics were inspired by '60/'70s domestic America - they've almost got the concept behind it a bit quicker than the UK. My US tickets have sold really quickly for the first time ever, which is exciting!"

A lot of UK acts are doing well in America at the moment - are you a fan of One Direction?
"I'm afraid not! I live in a weird bubble where some stuff just doesn't touch me at all, even though they're massive. Do you have them on your iPod?"

Yes, we do.
"Really!? I just don't get it. Maybe I have a cold, black heart or something. It might be that I don't like major chords in songs - I like menacing minor chords. I love Selena Gomez - she's got loads of them."

Have you been watching The Voice UK?
"I haven't, but I've been hearing a lot about it. Those singing battles would terrify me! I couldn't handle that intense showcasing of your voice. I'd be kicked out after one minute - I've only recently become a more confident performer. Hang on a minute, the post has arrived."

Anything good?
"No. When you travel all the time you never get any good post."

What can we expect from your upcoming tour?
"The stage is being designed to look like a living room with kitsch '60s furniture. It looks great and I seriously can't wait to get on the road."

Pupate
05-01-2012, 10:18 PM
Here's a cool track-by-track interview with Marina.


http://www.youtube.com/watch?feature=player_embedded&v=wWFpEXcdemU#!

samko
05-01-2012, 10:55 PM
It really took me some time to like the new direction she has taken for this record, cause I have really enjoyed her debut, but I can't get most of the new songs out of my head.
Also, that quietus review. From Tori Amos to Girls Aloud, from Lana del Rey to Katy Perry. Abolutely silly.

eresos
05-02-2012, 01:47 AM
totally agree, samko!

when the songs first were coming out I was not loving this new direction but I agree the hooks are just too good and they pop in my head all time. she has been great company on my nightly jogs.

menju56
05-02-2012, 10:25 PM
It seems that "Power and Control" has been selected as the next single, due for release on July 9.

Meanwhile, in the midweeks Electra Heart is about 4,000 copies ahead of Lana Del Rey for No.1, and "Primadonna" is up to just inside the Top 10.

The Markness
05-02-2012, 11:23 PM
I think Power and Control is a terrible single choice. It and Hypocrates are my least favorites, by far. They're not really offensive, they're just kind of...there. Why isn't Bubblegum Bitch the next single?

BettahDevil
05-02-2012, 11:36 PM
I like Power and Control, but I don't know about it being a single. I'd vote for Living Dead.

Pupate
05-03-2012, 01:07 AM
I dislike "Bubblegum Bitch," actually. I consider it quite plain. I like "Power and Control." The "Tubular Bells"-esque bells really add something to the song. I agree that it's not a great single choice, though. "Idle Teen" would be fun!

eresos
05-03-2012, 01:23 AM
I liked the original mixes of "living dead" & "sex yeah" better. there was more urgency. they are way too polished now. and i loved the part in original "sex yeah" where she sang in a lower register. both would have been better singles.

I think staring role would be good too as a single. I personally love the cheesy awesomeness of "state of dreaming"
of course, my opinion is biased as i've mostly listened to this as I run/jog, so the songs that push me to run more are the ones I am leaning towards.

I really don't like Hypocrates & skip it. Love. love. Fear & Loathing. :)

Nick
05-03-2012, 02:06 AM
Hypocrates is clearly the most deletable thing here... I skip it pretty much every time

Whappo
05-03-2012, 08:43 AM
She needs to keep this campaign going until winter so she can release State of Dreaming as her bid for Christmas #1. Absolutely gorgeous, as most of the album is, though I agree that the concept is tiresome and more shallow than she'd like to believe. Luckily it's easy to dismiss.

menju56
05-03-2012, 10:25 AM
I think this album is full of potential singles. I am surprised at Power and Control being chosen next (I was expecting them to go for Starring Role) but I like it, especially her sexy deep voice on the chorus. And yes, please The State of Dreaming. Beautiful chorus, and the production/melody of the verse after the first chorus reminds me of I Am Not A Robot which is not a bad thing.

menju56
05-03-2012, 05:52 PM
Part 2 of the track-by-track interview


http://www.youtube.com/watch?v=SlqqwE5ToWc

Andrew
05-05-2012, 08:06 AM
Pitchfork (5.9/10) (http://pitchfork.com/reviews/albums/16579-electra-heart/)

Last June, Vanity Fair published a report from a party held in the Hamptons by Disney star Ashley Tisdale. Ke$ha was there, apparently with "a YSL carryall on one arm and postmodernist Fredric Jameson on the other." Asked about her guest, she was quoted as saying, "F is amazing. I'll be, like, complaining about my music video director, and he'll just put everything in perspective by being like, 'The end of the bourgeois ego, or monad, no doubt brings with it the end of the psychopathologies of that ego-- what I have been calling the waning of affect. But it means the end of much more-- the end, for example, of style, in the sense of the unique and the personal, the end of the distinctive individual brush stroke (as symbolized by the emergent primacy of mechanical reproduction),' or something, and he's right." The comment was reported with a certain degree of sniffiness, all "like"s intact: While Ke$ha's apparent ability to recall the kind of quote that it takes most people five minutes to understand is impressive, it does seem incongruous from a woman who routinely asks her live audience, "Is there enough glitter on my titties?" (The answer is never "yes.")
It does make you ask questions about how snobby we can be about these pop and scholarly worlds colliding, associating philosophical nous with supposedly more highbrow musicians, bedroom producers turning out minimal electro whilst studying for their PhD. In Marina Lambrini Diamandis' oft-cited comeback interview with Popjustice last August, she introduced the concept that would lead into her second album: that of Electra Heart, a kind of not-quite-alter-ego/character/affectation/cinematic simulacrum that would feed into the follow-up to her 2010 debut LP as Marina and the Diamonds, The Family Jewels. Representing Greek tragedy, the "loss and failure" side of the American Dream, a daddy complex, and the vacuity apparently lingering inside us all, over six months prior to the eventual release of the LP there was very much a feeling of Marina over-complicating the whole affair: trying to dress up the high-gloss record that she had made with Katy Perry's collaborators (seemingly at the behest of her major label) in layers of philosophy, mythology, artifice, and blonde wigs. (There's a babyish song here called "Hypocrates", misspelled for seemingly no good reason, and with no reference to the philosopher in the song.) It must have stung like billy-o when Lana Del Rey came along and executed precisely what Marina was aiming for, hardly having to open her much-discussed mouth in order to explain herself whilst Marina tied herself in conceptual knots. In short, Electra Heart bears no profound relationship to Greek mythology or philosophical thought beyond exploring situations of basic human pathos (or lack thereof), but its rare affecting moments are heavy with tragedy.
Fredric Jameson's second comment, as recited by Ke$ha, is one that very much applies to Electra Heart. The Family Jewels was disliked by many for its vaudevillian Sparks-like gaucheness, Marina's self-aggrandizement and cock-a-hoop vocal (though there's no doubting the chops of a song like "Hollywood"). But there was a sense of personality to the music as well as Diamandis' deep, hiccupy voice, and a promising sense of audaciousness that's been all but lost here. Working with Dr. Luke, Stargate, Greg Kurstin, and Liam Howe, the songs on Electra Heart fall into three basic categories: the bland, swampy banger (sub-category: "Lies"' Skrillex-lite), a regal, electronic strut falling somewhere between Depeche Mode at their poppiest and the Doctor Who theme tune, and very cloying, nursery rhyme music-box ballads. The campy ding-dong of "The State of Dreaming" is as close as Electra Heart gets to fun, with huge church bells whooshing from side to side in the mix like a pantomime dame testing the trajectory of her ball gown skirts. Relegating great early single "Radioactive" to the bonus tracks on the deluxe version of the LP is nearly as daft as some of the waffle that Marina comes out with here.
Where she proves Fredric Jameson wrong is that there's seemingly no end to "the psychopathologies of the ego" in this instance. Marina really, really wants you to know that she's into pop culture, though the lazy, meaningless strings of references that comprise a good chunk of the songs here aren't any kind of postmodern comment on the Tumblr-ification of society, but just plain bad songwriting. The bombardment of archetypes and clichés is exhausting: "Beauty queen of a silver screen" persuading someone to buy her "a big diamond ring" on "Primadonna"; the titular "Homewrecker" (where excruciatingly bad spoken word verses clash against a pretty triumphant chorus) whose "life is a mess, but I'm still looking pretty in this dress." "Teen Idle" is just horrible, a glitchy ballad that sounds as though it was recorded in a church, where she wishes to be a "virgin pure/ A 21st century whore," "a prom queen fighting for the title/ instead of being 16 and burning up a bible/ feeling super super super suicidal," a chorus of Marinas echoing "super." She wishes for "blood, guts, and angel cake" because "I'm gonna puke it anyway," a weird preoccupation of hers that also crops up in "Homewrecker" ("girls and their cosmic gourmet vomit"), continued from "Girls" on her debut. But as for ending the ego, Marina does seem obsessed with ideas of finality and death-- knowing "where I will belong/ When they blow me out" on the quavering, celestial "Fear and Loathing"-- seemingly finding solace in the reliability of microcosmic, compact celebrity tragedies, perhaps in the face of the parts of this album that ring desperately true.
"You only ever touch me in the dark/ Only if we're drinking can you see my spark," Diamandis sings on "Lies". "The only time you open up is when we get undressed," she laments on "Starring Role", which glimmers like clashing porcelain before a stuttering, empowering chorus where she refuses to be a supporting cast member in an alluded-to love triangle. "Doesn't mean that I am weak," she asserts on "Power & Control", repeating, "I am weak, I am weak, I am weak" in an increasingly ephemeral voice. "Every day I feel the same/ Stuck, and I can never change/ Sucked into a black balloon/ Spat into an empty room" goes "Living Dead", a snappy, taut Soft Cell-like number. It feels like shaky ground to say that these vulnerable moments are Electra Heart's finest, catchiest, and hardest-hitting songs, Marina's soaring vocals packing some genuine emotion, picking up on themes of self-loathing that don't need blasé allusions to bulimia in order to indicate emotional emptiness; where the often transcendent states of sex and alcohol collaborate for profoundly dispiriting experiences. Her honesty, at least, is empowering. Whilst there's no getting past some of the duller and more unbearable material on this record, it's a real shame that it's come hamstrung in this unnecessary concept, ready for people to laugh when Marina fails to pull it off. If she'd made a record full of songs as unaffected as these four, Electra Heart could be one of the year's most acclaimed pop albums. Let's hope there's a next time.

I must say I stand by my initial analysis. Most of the record isn't catchy or interesting enough to hold my attention. Save for five songs the album is pretty bland.

The Markness
05-05-2012, 06:54 PM
I think it's an amazing little pop album and a good natural progression for her. I just really don't like how the last half of it is sequenced, and they should kick off some of those latter-half downtempo tracks in favor of Radioactive and Sex Yeah.

Whappo
05-05-2012, 08:54 PM
The second half was much more instant for me! How odd. Although I genuinely love it from start to finish now - even Hypocrates, the best track The Corrs haven't released this year (sorry Marina). It's pop brilliance, completely camp and melodramatic from the word go. Also, her Welsh accent on Teen Idle ("the wasted years, the wasted youth") is AMAZING.

menju56
05-07-2012, 10:10 AM
Congratulations go to Marina for achieving her first UK No.1 album with Electra Heart on sales of 21,358. Must say, I wasn't expecting a chart topper and I am very glad it has managed it.

"Primadonna" is also back up a couple of places to UK #11 despite a complete absence from the Airplay Top 50.



Marina & The Diamonds' second album Electra Hearts beats faster than its rivals to debut atop the album chart on sales of 21,358 copies. Undoubtedly helped by the success of second single, Primadonna, which bounces 13-11 this week (29,896 sales), the album eclipses the top position of Marina's first album, The Family Jewels, which debuted and peaked at number five although it fails to equal its first week sales of 27,618 copies.

The Family Jewels fell out of the Top 10 after just one week, never to return, and has thus far sold 177,268 copies. Electra Heart's chart-topping debut comes just days after Marina had to postpone her UK tour due to throat problems, and has been given overwhelmingly favourable reviews.


Can't tell if the last line of the chart report is being sarcastic, or if it's meant to say "unfavourable" because on the whole the reviews have not been good.

ebby
05-07-2012, 07:12 PM
It went in at #1 in Ireland last Friday too. http://www.ireland.com/leisure/music/marina-and-the-diamonds-electra-heart-at-no-1/653116

AshaBlack
05-08-2012, 10:18 AM
I still like The Family Jewels so much more!!

The Markness
05-08-2012, 07:01 PM
I still like The Family Jewels so much more!!

I like it differently. I think that despite the songwriting tics that are recognizably Marina, the albums are very different in flavor and feel.

BettahDevil
05-08-2012, 11:10 PM
I like it differently. I think that despite the songwriting tics that are recognizably Marina, the albums are very different in flavor and feel.

That about sums it up for me! And I must say, the duds (State of Dreaming and Hypocrites) are starting to warm up to me a bit!

Bastien
05-11-2012, 07:57 PM
I've had the CD on play constantly the past few days. I didn't like it at first but now I'm enjoying it more than her first album.

My favorites right now are Valley of the Dolls, Living Dead, Lies, and Homewrecker. The only song I skip everytime is Bubble Gum Bitch, it just gets on my nerves.

The Markness
05-11-2012, 09:53 PM
Valley of the Dolls has really grown on me a lot. I find myself humming/singing it all the time!

samko
05-11-2012, 11:27 PM
My favourite tracks from the album are Homewrecker, Teen Idle, Power and Control, Starring Role and I pretty much don't care about The Hypocrates and State of Dreaming.

This album makes so much fun to listen to. I play it on repeat for days now. Really hope that Teen Idle and Starring Role will become singles.

The Markness
05-12-2012, 04:07 PM
I really hope they push Primadonna more/harder for American radio. I think it could possibly be huge.

menju56
05-12-2012, 04:20 PM
I think the official US release for Electra Heart is in mid-July, so after she's done the Coldplay support dates and the UK tour I imagine they'll be doing some US promo. I think "Primadonna" is an excellent pop single, I wish it went UK Top 10 but it's been doing good business hovering just outside it for three/four weeks.

C33
05-14-2012, 04:41 AM
I haven't heard the album yet, but I'm happy to read it debuted at #1 in three countries!

BettahDevil
05-14-2012, 10:32 PM
Just popping in to say I LOVE Starring Role. I can't get enough. I wasn't all that impressed with Bubblegum Bitch initially, but it's really grown on me. I love the new wave vibe. Can't stop playing this album (along with Santi ;))!

Edit: Oh, and all if the acoustic versions on youtube are fucking stellar.

The Markness
05-15-2012, 04:22 AM
Is anyone else totally in love with Teen Idle?

toriMODE
05-15-2012, 04:24 PM
^I really dig the lyrics.

Beulah Land
05-15-2012, 09:14 PM
I ordered the UK import and it's on its way! [woot]

Damien
05-15-2012, 10:29 PM
Is anyone else totally in love with Teen Idle?

I haven't listened to this album enough to really form an opinion yet, but yes, this one caught my attention right away - it may be my favorite.

Perky Compson
05-16-2012, 07:24 PM
Teen Idle is easily the highlight to me, it's so darkly funny!

The Markness
05-16-2012, 09:54 PM
Teen Idle is easily the highlight to me, it's so darkly funny!

Yes! The cheerleader shout-along with "Super, super, super super!" It makes me laugh every time.

BettahDevil
05-16-2012, 10:09 PM
Teen Idle always brings Lana's Dark Paradise to mind. Both over the top, dramatic and fabulous!

Bastien
05-19-2012, 07:03 PM
Top five from the album? I've had it on replay so much I think I can say this for sure:

1. Teen Idle
2. Valley of the Dolls
3. Fear and Loathing
4. Living Dead
5. Homewrecker

Ms. Shart O'Nay
05-20-2012, 05:05 PM
Teen Idle / Living Dead / Primadonna / Fear and Loathing / Radioactive

I think. There are so many, though, that I really adore.

BettahDevil
05-20-2012, 10:43 PM
I tried to do an album ranking.. but it's just too hard! I pretty much love half the album equally.. and the rest I like a lot. Even The State of Dreaming + Hypocrites have grown on me! They are still my least faves, but I don't skip them anymore..

Glad to see all the Teen Idle love!

menju56
05-21-2012, 11:13 AM
Some chart updates - "Primadonna" continues its steady success, making it five weeks inside the UK Top 20 (11-13-11-14-16) with sales past the 100,000 mark, but Electra Heart is faring less well despite its No.1 debut. Its UK chart run so far has been 1-13-30 and sales are at 34,341.

It's doing much better in Ireland actually - "Primadonna" is up to #3 in Ireland, and Electra Heart is back up to #1 this week.

samko
05-21-2012, 11:27 AM
^^ I haven't seen it chart in Germany, or did I miss something? Family Jewels on the other hand, was quite a success over here...Such a shame, cause I like this album much more.

BettahDevil
05-21-2012, 11:24 PM
Been having problems NOT listening to this album in my car. It's pretty much all I want to listen to. I had to force myself to play something else today, I don't want to overdose on it too quickly.

(same thing happened with The Family Jewels)

menju56
05-23-2012, 07:48 PM
"Power and Control" single cover

http://a3.sphotos.ak.fbcdn.net/hphotos-ak-ash2/37063_10150809783666755_7839826754_9866038_444701486_n.jpg

BettahDevil
05-23-2012, 08:06 PM
Hot cover!

Power & Control is an interesting single choice, but I fucking love the song. It's begging to be remixed. Cannot wait for the video.

The Markness
05-24-2012, 03:02 AM
Meh. Power and Control sounds so hookless to me, especially compared to most of the other songs on the album.

BettahDevil
05-24-2012, 09:10 PM
Meh. Power and Control sounds so hookless to me, especially compared to most of the other songs on the album.

I can understand what you're saying. I just really, really love the instrumentation during the chorus. It does it for me. I would've preferred Living Dead for next single.

samko
05-24-2012, 09:42 PM
Power and Control is one of my favourite tracks on the album. The part where she sings "think you're funny, think you're smart, think you're gonna break my heart" is pretty great.
Definately a standout track on this album, although I've thought that she would release Homewrecker as the 2nd single.

samko
05-27-2012, 12:35 AM
http://www.youtube.com/watch?v=iLeWUYVYn-g&feature=player_detailpage#t=117s

Pupate
05-27-2012, 12:51 AM
I like her as an artist, but I can't get over how bad she is live! :(

samko
05-27-2012, 12:58 AM
^^ are you fuckin' serious? She is having some voice-issues lately, but she is fucking great live!

The Markness
05-27-2012, 06:56 AM
I like her as an artist, but I can't get over how bad she is live! :(

? Pretty much everything I've heard about her live shows is positive?

hesterk
05-27-2012, 04:29 PM
Yeah, ?? to Pupate's comment!
At the three NY shows I attended Marina's voice was great - powerful, rich, varied, on-pitch. Strong when she dances around, strong when she sits down at the keyboard. Her dancing and movement is a bit mannered and choreographed but there's nothing wrong with a musician not being a natural at that. Plus we know she over-thinks about perception and image and all that :)

eresos
05-27-2012, 05:51 PM
I saw her last year in a small venue live before I really liked her music. I liked it but seeing her live made me like her even more. She was fun, quirky, and her persona is a bit of a contrived pop caricature on purpose. i mean the woman performed the entire set in front of a wind machine, posing and hamming it up. her dance gestures are like a hyper pop star it's half celebrating it and half mocking it simultaneously. that is how i took it at least.

samko
05-28-2012, 01:25 PM
Marina last night in Berlin


http://www.youtube.com/watch?feature=player_detailpage&v=NAHl83K6Jhs#t=68s


http://www.youtube.com/watch?feature=player_detailpage&v=NAHl83K6Jhs#t=4s


http://www.youtube.com/watch?feature=player_detailpage&v=wv_bl4jkt_4#t=6s


http://www.youtube.com/watch?v=eHsI58fzFOM&feature=player_detailpage#t=40s

samko
05-28-2012, 09:02 PM
Some more videos were uploaded from the Berlin show. I love this era. I prefer this one much more than her last one.


http://www.youtube.com/watch?feature=player_detailpage&v=ttHMxj_XYaE#t=92s


http://www.youtube.com/watch?feature=player_detailpage&v=yAcrVHJcV8o#t=2s


http://www.youtube.com/watch?feature=player_detailpage&v=CVr_zA-fmjc#t=2s


http://www.youtube.com/watch?feature=player_detailpage&v=Ia3WDSA-Lvk#t=14s

BettahDevil
05-29-2012, 01:18 AM
Great videos samko! Marina is amazing live. I reccomend checking out this full hour long+ festival set from last year. It includes a superb early performance of Living Dead! I believe there's another hour long festival set from 2010 available on youtube too which features most of Family Jewels. I want to see her live SO bad!

http://www.youtube.com/watch?v=W_8HBnOcowU&feature=youtube_gdata_player

samko
05-31-2012, 05:14 PM
Wooohooo!!! New Video!


http://www.youtube.com/watch?feature=player_detailpage&v=o3Rp_0hoNTY#t=35s

vioflex
06-01-2012, 05:03 AM
Fear and Loathing just clicked for me today. I love how Ray of Light-y it is.

Whappo
06-01-2012, 07:33 AM
New video's great and the pre-chorus is catchy and sassy enough that it might stick with The Buying Public (people like aggressive songs about being a diva don't they).

Now Living Dead, Starring Role or Teen Idle as the next single(s), send Hypocrates to Radio 2, then Christmas up State of Dreaming for an early winter single release.

samko
06-01-2012, 09:47 AM
I hope that Homewrecker is going to be the next single. It's the catchiest song for me on the record.

menju56
06-19-2012, 07:50 PM
US version of Electra Heart set for release on July 10th - includes a new song, "How To Be A Heartbreaker"

http://25.media.tumblr.com/tumblr_m5unisU7xy1qbjavpo1_500.png

toriMODE
06-19-2012, 08:58 PM
Electra Heart has really surprised me. Before the album came out I was really excited for it, simply for the fact, that I loved the Fear and Loathing song and video, and was hoping the album would be full of those moody dark type songs. Then I hear the album, and I'm a little disappointed that Fear and Loathing remained as my favorite, and nothing else really grabbed me except for Radioactive. And now, I have almost every song from it playing in my head at one time or another. I think it's a serious contender for album of the year.

holdenglass
06-19-2012, 09:24 PM
^yep, this album is a dark horse. I didn't like it at all, for at least the first month, but slowly the songs have started to pop in and out my head, a new one everyday. I'm still not to fond of Primadonna or Homewrecker but I've stopped skipping them, thinking that any day they will click. This album made me a fan but I still haven't bought tickets for her show here next month. Hmmmmm.....

Pupate
06-20-2012, 12:40 AM
^^ are you fuckin' serious? She is having some voice-issues lately, but she is fucking great live!

I guess I just don't hear it. To me, it always sound off-key and pitchy. Perhaps there's something wrong with my hearing.

Bastien
06-20-2012, 01:37 AM
I agree with both of you. I never was a big fan of Marina, but I did always love Mowgli's Road, Shampain and The Outsider from her first album.

This album is wonderful! I'm not sold on Bubblegum Bitch, but the rest of the songs stay in my head constantly. Teen Idle, Fear & Loathing and Living Dead are fantastic.

Jake
06-20-2012, 04:01 AM
I just noticed the cute video of her and Shirley Manson from her Facebook page.

...they teased about doing an EP together...

CAN YOU IMAGINE.

samko
06-20-2012, 04:37 PM
The new track on the US Version of Electra Heart "How To Be a Heartbreaker" (snippet)

http://howtobeaheartbreaker.tumblr.com/post/25475405477/blowhan-cornsaladsurprise-how-to-be-a

samko
07-01-2012, 11:08 PM
How To Be a Heartbreaker is the 2nd single for the US. Marina is also on Jimmy Kimmel on 9th July!



http://www.youtube.com/watch?v=UX0nhJJzdF8&feature=player_detailpage#t=2s

menju56
07-03-2012, 08:30 PM
Marina has said that it's also scheduled as the third UK single, which seems a bit odd seeing as it's not on the UK Electra Heart.


http://www.youtube.com/watch?v=mq21EKwx0FA&feature=player_embedded

DarkWater
07-08-2012, 08:43 AM
Hi. I just stumbled upon this place (i.e., unforumzed.com) due to being a Kate Bush fan and it turned up in my Google Alerts for Kate Bush. What is this place? I take it that it's mostly a Tori Amos site with room for some other related stuff? Or is it just some sort of general forum site where Tori Amos fans just ended up congregating?

In any case, these days I have Marina more on my mind, though (I even started a Marina fansite to go along with the Kate Bush fansite I created aeons ago), and am looking for quality places to discuss Marina. I made a forum on the aforementioned Marina fansite, but it's been a challenge to get people to join. I participate on one or two Marina groups on Facebook, but I'm not too keen on the Facebook interface. I participate sometimes on the Electra Heart thread on ATRL, but they're all Katy Perry and Lady Gaga fans over there, and I have little patience for Katy Perry, though I suppose I can tolerate Lady G.

Re the debate over Marina's live performances, I saw her in Boston last summer, and it was one of the very best concerts I've ever been to, and I've been to tons and tons of concerts. Marina just exuded charisma and energy and the audience was completely rabid, in a way that I've rarely (i.e., never) seen before.

Okay, I agree that live Marina can be a bit pitchy, but who isn't? (Okay, Natasha Kahn wasn't at all when I saw her, but she's an exception.) It's hard to hear oneself properly onstage. Marina certainly can sing on pitch, as I've listened to a lot of her live in-studio radio performances, and she's almost always perfect in that environment. (So is Lana Del Rey, for that matter, just in case you were wondering.) Also, for me, most of the time when Marina is pitchy, it just makes the song even better. I.e., she's off enough to give the song some character, yet not so off as to be painful. I'm sure that jazz people must have a word for this, since it's a common thing to do in jazz on purpose. On the other hand, my girlfriend claims that Marina always sounds to her like someone singing in the shower. (A chaque son gout!)

There [I]are a few occasions where Marina's voice has been a bit too off for my ears: Her duet with Biffy Clyro, the acoustic video for Hollywood, some of her live performances while her vocal cords were recovering were a bit weak vocally, and I don't think she does a particularly great job with Power & Control live. I can see that that would be a hard song to sing live, though, as the melody is a bit oblique. I do love the acoustic version she did, though.

In any case, Marina off-key is better to my ears than almost anyone else on-key. I think that her voice has such charm and character, and on songs like Starring Role, such power, that it quite literally brings tears to my eyes. And in any case, any complaints about pitchiness pale next to Marina bleaching her hair. I want the beautiful brunette back!

|>ouglas

DarkWater
07-08-2012, 08:49 AM
Marina has said that it's also scheduled as the third UK single, which seems a bit odd seeing as it's not on the UK Electra Heart.

It's not odd in the sense that it has HIT written all over it. It's 10X as commercial as anything else on the album, which normally might rather cause me to sigh with sad resignation, but in this case, it's also a perfect song in every conceivable way. I.e., it's the best of all worlds! Except for the fact that if it makes Marina into a superstar in the US, I'll never be able to see her in a club again, and that would be truly tragic to me!

|>ouglas

Bastien
07-10-2012, 02:25 PM
http://www.youtube.com/watch?v=gPhnci5_fZo&feature=g-u-u

She was better on Graham, but still OK.

samko
07-10-2012, 08:32 PM
and here is the performance of HTBAH on Jimmy Kimmel. I am still not a fan of this song, but I hope it will give her a push in the US, cause I think this one has good chances of getting lots of airplay.


http://www.youtube.com/watch?v=5G3_IQ7ZcUk&feature=player_detailpage#t=0s

The Markness
07-11-2012, 03:17 AM
I think HTBAH is so boring. "Primadonna" or "Radioactive" could have been huge. *sad trombone*

DarkWater
07-11-2012, 03:40 AM
Well, I have no idea what you're talking about Mr. The Markness, as "Primadonna" is the current single from the album and it was the only performance that was aired on Jimmy Kimmel.

On the other hand, I think that HTBAH is a brilliant song, and far superior to "Primadonna". It's also much more likely to be a hit. It's too bad they didn't air HTBAH instead of "Primadonna".

I would agree with you on "Radioactive", except the song was already released in England and didn't do terribly well, which is why, I suppose, they went with "Primadonna" instead for the U.S.

|>ouglas

The Markness
07-11-2012, 04:48 AM
"Primadonna" was actually an official U.S. single? That was pushed to radio and everything? 'Cause if it was, I missed that, Jimmy Kimmel performance notwithstanding.

toriMODE
07-11-2012, 03:55 PM
I think How to Be A Heart Breaker should make a very good single choice!

I'm surprised to hear that Radioactive didn't do very well. It should have been released with remixes and been a big dance hit!

DarkWater
07-11-2012, 11:06 PM
"Primadonna" was actually an official U.S. single? That was pushed to radio and everything? 'Cause if it was, I missed that, Jimmy Kimmel performance notwithstanding.

Yes, Primadonna is the first and current official single from Electra Heart and it is currently being played on pop radio stations:

http://goo.gl/1cRge

You can also buy the remix EP on the US iTunes store.

I've heard that Primadonna is currently around 50 on the pop music radio charts, though I don't know where this figure comes from. It's not on the Billboard Hot 100.

|>ouglas

DarkWater
07-11-2012, 11:09 PM
I think How to Be A Heart Breaker should make a very good single choice!

I'm surprised to hear that Radioactive didn't do very well. It should have been released with remixes and been a big dance hit!

HTBAH is going to be the second single in the US and the third single in England. (Power & Control will be the second single in England.)

For the life of me I can't figure out why Radioactive wasn't a big hit. It was released in England with a remix EP, and you can buy it on the UK iTunes store. It wasn't a complete flop, however. IIRC, it reached about 26 on the official UK chart.

|>ouglas

holdenglass
07-16-2012, 03:36 PM
http://i18.photobucket.com/albums/b101/chadandrew79/DSCF3317.jpg

Marina’s show on Friday was the most exciting live performance that I have seen in my life. It may have been the fact that I was surrounded by 16 year old girls and gay boys but the energy at the Aladdin Theater was insane. Her stage presence in such a small venue is captivating, you can see her working a much larger platform but I felt honored to see her so close and personal. Her movement and body language is really cool to watch, it feels practiced but completely natural at the same time. Seeing the old material mixed with the newer stuff brought out the Electra Heart character’s evolution. The setlist, same every night, felt as if it was telling the story of how she became this hardened Primadonna/Homewrecker/Bubblegum Bitch. The lights and set were fucking awesome, Blade Runner meets Mulholland Drive. The build up and intro to Power and Control blew me away. My fan card just got laminated after experiencing her as a live performer, downloading all her demos(which are very Liz Phair Girlysoundsish i.e. Porno is Good for Your Soul) and waiting to meet her after the show. The tour is almost over but if you get a chance, don’t miss this.

http://i18.photobucket.com/albums/b101/chadandrew79/DSCF3329.jpg

eresos
07-16-2012, 06:14 PM
I saw here last year in a small venue as well and felt the same thing.
Fantastic stage presence. performed & natural at the same time

BettahDevil
07-16-2012, 07:22 PM
Awesome holden! I'm glad you had such a good time/experience! Oh how I wish she was playing near me. I wouldn't miss her for the world. I hope she does another round of US dates soon.. and comes to Phoenix!

menju56
07-20-2012, 05:59 PM
Electra Heart enters at US No.31, an improvement of over 100 places on The Family Jewels. Sales are very low across the board though, I think it's somewhere in the 10,000 region.

Damien
07-20-2012, 06:48 PM
I don't know the politics of what is played and not played on mainstream radio here, but things like Primadonna or anything else off this album should have been hits! Or at least played sometime in between the marathon of Rihanna and Katy Perry songs.

Jake
07-22-2012, 05:08 AM
Saw her tonight in Chicago! My first Marina live experience, and I can't say enough good things. She was completely into the whole Electra Heart persona, had perfect hand movements and expressions for every song, and she sounded great. My one complaint would be the sound, her voice was drowned out a lot. But that's not a ding on her at all. She loved the crowd, and holy shit were they obsessed with her.

The set, from what I can tell, was pretty similar to what she's been doing. She added Living Dead, though, a friend's favorite, and the performance even made me like it a little more.

So yes, if you can see her, do it. The live show officially puts Electra Heart on my year-end best of. Here's a small collection of pictures I took, but I got a TON of pictures. Had a great spot among the (very young, sweaty, kind of annoying) crowd.

https://sphotos-a.xx.fbcdn.net/hphotos-snc7/311603_4176339843880_1878357246_n.jpg

holdenglass
07-23-2012, 10:19 PM
Jealous, you got Living Dead. You're absolutely right, the album did come alive on stage. Homewrecker and Lies, were the two best examples; I wasn't that wild about either of those tracks but after the show I was left with these amazing visual imprints of the lights and her stage presence, which really brought out the passion of those two songs.

menju56
09-28-2012, 09:06 PM
"How To Be A Heartbreaker" video at The Sun (http://www.thesun.co.uk/sol/homepage/showbiz/4561798/marina-and-the-diamonds-how-to-be-a-heartbreaker-exclusive-video.html) website.

Or, a low quality rip to YouTube here


http://www.youtube.com/watch?feature=player_embedded&v=HvCENHcRQTg

Pupate
12-09-2012, 04:36 PM
So, I know that I have been sort of critical of Marina's live performanes, but I had the opportunity to see her live in Boston live because my boyfriend had an extra ticket, and I am so glad I went. I retract what I said about her live voice. Her voice was essentially flawless the entire time, and I was blown away by her high notes and vocal power. She had an amazing stage presence and she's so beautiful. The opener Icona Pop was really fun too. They definitely got me really excited.

Jake
02-14-2013, 02:43 PM
She just posted this 2 minute video of a new song called E.V.O.L. It follows the Electra Heart theme, and I have no idea if we'll get it in full or released somewhere.


http://www.youtube.com/watch?feature=player_embedded&v=_kusMinllYg

Pupate
02-14-2013, 08:00 PM
The full song is available now. You can hear it here (http://gramversus.tumblr.com/post/43093232709/electraheart-new-song-e-v-o-l).

Volta
02-15-2013, 01:27 AM
Pretty original. It is kind of hard to believe in 2013 someone hasn't had a play with words spelling love backwards and making it evil "evol"

Pupate
02-15-2013, 01:30 AM
They offer a brand of frozen meals at Whole Foods by the same name, but something tells me that they weren't going for the "evil" thing.

Blake
02-15-2013, 02:56 AM
Isn't that a PJ b-side song title?

eresos
02-15-2013, 03:09 AM
i l.o.v.e it! so fun!!!

thanks for sharing :)

Perky Compson
02-15-2013, 03:51 AM
Pretty original. It is kind of hard to believe in 2013 someone hasn't had a play with words spelling love backwards and making it evil "evol"

PJ Harvey and Eminem have both done it.

I like the song though.

emanate
02-15-2013, 03:59 AM
http://upload.wikimedia.org/wikipedia/en/0/01/Evol.gif

1986! That said, Marina's great. [post28]

The Seaward
02-18-2013, 08:03 PM
They offer a brand of frozen meals at Whole Foods by the same name, but something tells me that they weren't going for the "evil" thing.

I'm a big fan of the Evol burritos! They're delicious! AND all natural!

Nick
03-11-2013, 12:30 PM
According to EW, How To Be A Heartbreaker will be covered on an upcoming episode of Glee! Love it or hate it, it's some good exposure for Marina here stateside (where she just hasn't quite caught on for whatever reason).

Andyland
03-11-2013, 12:54 PM
Here in Philly I've noticed that each of her shows seems to draw more people than the one before it, and last time she played the biggest venue she's ever headlined here.

Andyland
05-03-2013, 02:46 AM
http://www.youtube.com/watch?v=cohU-_F6hZA&feature=youtu.be

Simon
05-04-2013, 01:59 PM
http://upload.wikimedia.org/wikipedia/en/0/01/Evol.gif

1986! That said, Marina's great. [post28]

This !

pb
05-09-2013, 01:07 PM
http://youtu.be/8airDbUMqsk

Lovely. Think this is the added verse:

Deep down
I knew that you were never right for me
But now
I see you walking around with that girl and I know baby
Know now
We're not meant to be, you were not meant for me
'Cause I'm too proud
If I'm not number one then I'd rather be lonely

BettahDevil
05-09-2013, 06:24 PM
I absolutely love Lies, one of her best songs ever.

eresos
05-29-2013, 02:08 AM
Going to see her tomorrow night.
Anyone else going?

holdenglass
07-17-2013, 04:44 PM
http://www.youtube.com/watch?v=MsnlBtlimBA&feature=share&list=PLFE36A3E9ACC0F14C
Love the video. It makes me think she's been watching some Lars Von Trier films. The slow mo shots of the rain and remnants of the party are reminiscent of Melancholia and the scene in the woods has an Antichrist look and feel to it.

Partisan
07-17-2013, 04:56 PM
Love the video. It makes me think she's been watching some Lars Von Trier films. The slow mo shots of the rain and remnants of the party are reminiscent of Melancholia and the scene in the woods has an Antichrist look and feel to it.

YES!! :) When she disappeared in the woods, I said something to the effect of "uh oh, she just went to wherever Charlotte Gainsbourg went in Antichrist".

C33
07-17-2013, 05:07 PM
Yay! LIES is far and away my favorite song from this album.

Pupate
08-08-2013, 08:47 PM
Marina finally released the last single from Electra Heart, and it's a song of the same name, which I've been coveting for months.


http://www.youtube.com/watch?v=mhHrrVlshQ8

pb
08-08-2013, 09:09 PM
^Very nice!

Beulah Land
08-09-2013, 12:52 AM
So is that a new song?

BettahDevil
08-09-2013, 08:38 AM
Yeah, where in the hell did that song come from!? And, how did I miss it..

Pupate
08-10-2013, 03:33 PM
I'm pretty sure it was unreleased until about this point. I did hear a demo of the song that she apparently played at one of her shows on Tumblr a few months ago, but I didn't know that she was planning on actually releasing the finished song.

lolly
07-11-2014, 08:03 AM
Does anyone know what's going on in Marinaland?

AshaBlack
07-11-2014, 08:48 AM
It's been quiet for a while now. Last I heard was she was working on her third album but she's been working on it since February last year so I'm assuming itd be closed to finished by now?

Yo Jupiter
07-11-2014, 09:12 AM
Hoping for a return to the Family Jewels sound! Electra was a nice and fun concept/experiment/dip into mainstream, but I'd like something more fulfilling musically, with more Numbs and Rootlesses, less Heartbreakers :)

AshaBlack
07-11-2014, 11:01 AM
I agree! Electra Heart isn't a bad album but I prefer The Family Jewels much much more than Electra Heart. I don't listen to EH much and not all the songs clicked for me. My favourite off the album is probably Teen Idle whereas I like every song on The Family Jewels. I hope for a more organic sound like that album again.

Yo Jupiter
07-11-2014, 01:21 PM
Yes, Electra Heart did have good songs, but stuff like How to Be a Heartbreaker was just so embarrassing and disappointing to hear/see. Her lowest point imo.

She really needs to rerecord Give Me the Money, it has a lot of cool songs ruined by the cheap low-budget production. Pancake Karma would make such a cool single + video!

Domandapiano
07-11-2014, 05:42 PM
I don't think How to be a Heartbreaker was too embarrassing.

But yeah, I'd love something more like The Family Jewels. I have been listening to that album again recently and it is SO SO strong. Are You Satisfied? is still my favorite Marina song.

Nick
07-11-2014, 07:59 PM
Yeah, definitely nothing embarrassing about How To Be A Heartbreaker - it's one of my favorites from that era! I think both albums are great, but Electra Heart is just a very, very smart pop album.

Rootless and Numb is a pretty amazing back-to-back on Family Jewels though...

Jamiieee
07-11-2014, 10:20 PM
I'll be so sad if she abandons the Electra Heart sound. I hated Family Jewels. Sorry y'all.

C33
07-11-2014, 11:40 PM
I wouldn't describe anything on Electra Heart as a low point for her, but only a couple songs from that album really click with me. I'm sure she'll change things up again for number 3. She's that kind of artist.

Yo Jupiter
07-12-2014, 09:04 AM
I love the tongue-in-cheek stuff like Primadonna and Bubblegum Bitch, but HTBAH seems like it was written in the last minute (''rule number one is that you gotta have fun'' wow such songwriting) and tacked onto the American release just to serve as a catchy song with a sexy-guy video. And she even kicked off Living Dead :( other than that, I think several songs featured quite downgraded songwriting for her standard, namely Starring Role, Lies (yes I know, blasphemy, right?) and Power & Control (hate this one, such a wrong choice for single). Those songs sound like something written for a pop diva. But I guess I'm the only one ;l

That being said, Electra is a really good pop album, and aside from those tracks I mentioned above, I really like all of them, and the bonus tracks are amazing. But maybe she set my standards too high with Family Jewels which is superior in every way imo. And I hate when the wide audiences get an impression of her only through Primadonna and Heartbreaker, and miss out on the masterpieces she made, like most of TFJ. But I guess I shoud be grateful it was a breakthrough for her, she gained new fans with it after all.

Nora
07-12-2014, 09:04 PM
Wait--what is Rootless?! It's not on my US version of Family Jewels. /4 years behind.

Andyland
07-12-2014, 09:09 PM
All this time I assumed the song was called Ruthless


https://www.youtube.com/watch?v=c_eH91h8kW8

Yo Jupiter
07-12-2014, 10:03 PM
Wait--what is Rootless?! It's not on my US version of Family Jewels. /4 years behind.

No? :eek: That's a huge shame if she left it out, the song is amazing. Some of her best songwriting is in that song and Numb. I don't think anything on Electra Heart is on that level lyric-wise, even though Buy the Stars, Teen Idle and Fear & Loathing come close.

I'm always having trouble around ''like a leper / leopard with a golden bell'', I always look up the lyrics and forget which is the correct word. ;l Both fit really well, but I'd say leopard fits even better because of the golden bell part.

ebby
07-13-2014, 12:05 AM
^ as opposed to the lepers who had to carry bells:


Until the mid-14th century the bells and rattles carried by lepers were intended to attract donations rather than warn people off, especially if the leper had lost his voice and couldn’t shout like other beggars. At the time there was little fear of lepers and we know that they were enthusiastic ringers of their bells because there were local laws which specifically forbade them from doing so.

There was a change of attitude to disease around the time of the Black Death, and sick people became objects of fear; after that time, lepers were indeed made to carry bells as a warning. In late medieval times it was thought that leprosy could be spread by the glance of a leper, or an unseen leper standing upwind of you.

- QI: Leprosy (http://qi.com/infocloud/leprosy)


I don't know any leopard who wears a bell ;)

hesterk
07-13-2014, 01:58 AM
Rootless was swapped out of the US edition for Seventeen, which was a b-side in Britain. Weird record companies.

Yo Jupiter
07-13-2014, 07:41 AM
^ as opposed to the lepers who had to carry bells:

I don't know any leopard who wears a bell ;)

Haha, I didn't know that! Useful info. As for leopards, my logic was like leopards are fast and hunt for prey, if they had a golden bell, they'd be useless because everyone would hear them, so they'd lose all their power etc. Maybe kind of far-fetched, but that was my first thought. Now I think lepers match way better, and kudos to Marina for thinking of it!

Yo Jupiter
10-04-2014, 09:13 AM
Froot, the first single off her upcoming album, is to be released Oct 10th on Marina's birthday! Can't fucking wait!! The snippets were already awesome.

lovecraft
10-04-2014, 03:13 PM
Appearently she's been saying that she is leaving the EH sound behind and realizing that she is an alternative artist.As a person who loathed the shallow concept and lyrics of most of Electra Heart i'm very very happy about it.

Yo Jupiter
10-04-2014, 04:31 PM
Not sure where she said it, I think she always justified the EH sound with the "concept" and the style being a one-time thing. I also remember her saying in the beginning of the era how happier she felt doing Electra as opposed to TFJ, working with different people, bigger budget, fun pop music blah blah; and much later, near the end of it, she said she was disappointed by the label etc.

I think they invested a lot of money into the accessible Primadonna-ish sound of the album, and it only had one decent hit (still not "successful enough" compared to other mainstream hits), and Heartbreaker didn't really make a big impact apart from being in Glee. So when the investments didn't pay off, they kinda showed their "dark side" and that disillusioned her. BUT, that's my theory only, and I can't remember where or when she said it, I might be misinterpreting things in my mind also. It was a long time when I saw that interview.

The Froot snippets are very old-Marina, so that's good. At least EH got her some new fans who otherwise wouldn't have discovered her.

Nick
10-04-2014, 06:08 PM
EH was a wonderful album all around; could've done with some whittling down, or maybe just a better distribution of album tracks vs. bonus tracks (e.g. I can't believe How To Be A Heartbreaker wasn't on the initial album), but I think she succeeded completely at making the album she intended to make. That said, she doesn't strike me as someone who'd be terribly excited to make the same album twice. I wouldn't be surprised if she goes somewhere totally new with a lot of the new album.

Yo Jupiter
10-04-2014, 06:37 PM
How to Be a Heartbreaker was abysmal and horrible IMO and I'm just glad she didn't include it on the standard edition.

I'd also gladly get rid of Lies, Starring Role and especially Power & Control. All of them are just trite and I eyeroll all the time. (Lies live on Conan was nice though)
I'd replace those 4 with the 4 deluxe tracks which are all pretty solid, if not excellent.

I do like EH a lot, but I am thrilled that she's not gonna recycle that style again, and other than the 4 songs I mentioned, I more-or-less like everything else. But I think I only truly *love* a few songs, while in TFJ I *love* 90% of it.

AshaBlack
10-05-2014, 01:54 AM
That's good news to me. I absolutely love her family jewels album so much from start to finish that when I heard Electra heart I was disappointed with the electronic sounds. There are some good tracks on it like Teen Idle and Bubblegum Bitch. I'm curious about her next album especially now knowing it's more like her earlier stuff