One of the best songs from FROOT. 25 The Outsider. This song basically describes my life so well. "Sitting on the outside, observing the fun" & "Inside the outsider" The lyrics are so smart and clever, throughout the song she describes the life of someone who is always in the background and never noticed.
The lyrics to “Enjoy Your Life,” off Marina Diamandis’ new album, Love & Fear, could serve as the soundtrack to your soul from here on out — at least, they should.“Sit back and enjoy your problems / You don’t always have to solve them,” she cheers. “Cuz your worst days, they are over / So, enjoy your life / Yea, you might as well accept it / Don’t you waste your time regretting. Yea, your worst days — they are over / So, enjoy your life.”It’s exactly the type of infectious, carefree chorus you’d expect from any other pop star. But when sung by Marina, who’s back from a hiatus with a tweaked stage name (no longer “Marina and the Diamonds,” simply Marina), it feels like a release — like finding joy in life’s in-between moments or coming to terms with the inevitability of by Leeor the day of her release of single “Orange Trees,” a sugary-sweet summer anthem, the Greek-Welsh musician is in a great mood as she looks back. But a few years ago, almost a decade and three albums into her career, Marina says, she stopped growing.“I didn’t feel the same about music anymore or why I was motivated to be an artist,” explains Diamandis, who retreated after the 2016 tour for her Froot album. “The way I processed that was, Well, maybe I don’t want to have a job in public life anymore. I just remember thinking I don’t want my face to be on anything. I don’t like anyone looking at me — just a complete rejection of that, so I thought, Well, maybe I shouldn’t do this anymore.”For the record, however, she doesn’t categorize her return as a comeback at all: “I don’t really care. I’m just like, Hello. This is my new music. In my mind I quit, but in reality, I just wasn’t doing music at that time.” (That hiatus did include college classes in psychology — more on that later.)Photographed by Leeor before Marina took her breather, her single (off Froot), “Happy,” depicted a reclusive celebrity, alone and in search of happiness but unsure where to find it. It was a darker, yet somehow still colorful, turn for a woman who once sang about how to be the heartbreaker (not the other way around).When Diamandis arrived with her debut LP The Family Jewels in 2010, she charmed the hearts of young women and gay men searching for lighter fare than other British singers of that era (Adele, Amy Winehouse, Duffy, etc.). Her story is less rags-to-riches than it is a butterfly getting its wings: Her obsession with becoming a singer wasn’t enough to keep her from dropping out of music school, but it gave her the nerve to create her own music — teaching herself how to play the keyboard and recording her demos on GarageBand. Ultimately, her grassroots approach and her embracing of MySpace would see her land 14 record label offers. She rejected all but also set Marina apart from the get-go: her innate understanding of the digital revolution of both streaming music and social media. Her sound, an orchestral combination of sticky lyrics and sweet melodies, came about at a time when the internet had begun influencing teenagers, and when tools like GarageBand became accessible to everyone. An imperfect, unpolished pop genius, Marina harnessed a gut sense for meaningful, personal lyrics and tempered it with radio-friendly sounds. By then, pop stars weren’t just dissecting love within their songs; they could rewrite the very notion of love, changing the way you looked at it, her confident arrival: Diamandis regularly communicated with her cult fanbase during a time when most artists hadn’t yet embraced platforms like Twitter and Tumblr. (Instagram was still years away.) “I took that tool... to talk to people online and project my personality that way,” she by Leeor the Diamonds, for the uninitiated, aren’t actually real, and have nothing to do with cubic zirconias, either. In 2010, Diamandis described them as a conceptual security blanket (and a play on her surname) rather than an actual backing band: “I saw a simple group made up of many people who had the same hearts. A space for people with similar ideals who couldn’t fit into life's pre-made mold. I was terribly awkward for a long time! I really craved to be part of one thing because I never felt too connected to anybody and now I feel I have that all around me.”After The Family Jewels, Marina’s sound and execution quickly matured, and she was eager to present a more twisted vision of female pop stardom. And so, 2012’s Electra Heart was born. Diamandis again gave fans what they wanted (shake it off to “Primadonna,” “Bubblegum Bitch,” and ”Power & Control” to see what we mean).But nothing about album number three, Froot, hinted that Marina was on the verge of quitting music altogether. The LP contained just as many requisite pop puns, and struck a perfect balance of inspiring and somber lyrics. But, again, it didn’t propel Marina into the mainstream. “Do you really want me to write a feminist anthem?” she asks on “Can’t Pin Me Down.” “All these contradictions pouring out of me / Just another girl in the 21st century. I am never gonna give you anything you expect.” Four years post-Froot, Love & Fear (part one, Love, dropped the final week of March, and part two, Fear, arrives at the end of April) isn’t a total departure from her signature sound of electronic rock-pop. But it’s a bit sparser, and certainly lacks the angst of previous by Leeor and in person, Diamandis isn’t afraid to go deep. She’s a Libra, and concedes that she takes on the emotions of others. On Love & Fear’s “Emotional Machine,” for instance, she sings, “I’m a machine, an emotional being / Since I was a teen / Cut my feelings off clean”. And she holds her own in conversations about politics. In a recent interview with Channel 4, Diamandis cried as she discussed the state of American politics (“It’s anti-human”). Her response ballad on Love & Fear is aptly titled “To Be Human”: “I like to think about how we all look from afar / People driving fancy cars look like Beetles to the stars / The missiles and the bombs sound like symphonies gone wrong / And if there is a God, they'll know why it's so hard.”“One thing that has really changed in my world perspective in the past three years is this feeling that we are all the same. That might just be a personal feeling or it might be something that has been triggered by our politics and the fact that we aren’t united, that we’re actually more divided than ever,” she says. “That hurts me like it hurts people who are on the receiving end of discrimination. It feels completely wrong, the way that the world has been moving in the past two years.”Photographed by Leeor Diamandis sounds more introspective than your average pop vixen, it’s because she is. In fact, during her break from music, she took classes at the University of London, studying Psychology and Understanding Human Personality. When explaining why Love & Fear is 16 tracks, instead of the industry-average of 12 (and why it’s split into eight and eight), she cites Swedish psychologist Elisabeth KĂŒbler-Ross: “She states that everything that we do stems from love or fear. So, love and fear are the two primary human emotions that all of our other emotions come out of,” she explains. “I thought that was a beautiful, universal way of painting a picture of the human experience. It was a really easy way to look at the songs and say, This comes from a feeling of joy or love and This definitely comes from a place of fear.”Another recent shift for Marina, sans the Diamonds: She’s established greater boundaries on her social media channels. “People are given access to artists, thinkers, people in public who they like, and you have to be smart about how much you decide to take in,” she says. “I don’t think it’s natural to know millions of people’s opinions of you. I don’t think that’s a useful thing for an artist. I’ve been able to manage that much more in recent years.”Like her sound, Diamandis’ new image is spare and stripped down. She has evolved from her colorful music festival stylings (the heart-shaped mole and the Spice Girls-esque stage wardrobe) to a more mature vision. “In my [new] album shots, I’m wearing Levi jeans and some spotty top. But that’s cool. That’s where I was at when I was shooting it,” reflects Marina, who cites vintage Cindy Crawford as a key inspiration for her new aesthetic. But Diamandis is a lyricist — she’s not distracted by fashion, despite how much her previous discography and visuals may say otherwise. “I’m a big fan of being able to select clothes that say something about where you’re at. And that can just be a black top and trousers. It doesn’t have to be fashion.” It makes sense, then, that the cover art for Love & Fear features just one fashion credit: an best part about talking to an artist ahead of their latest project — and in this case, their reemergence — is that there’s often not an ounce of melancholy in their voice. It’s proof of the reparative power of music. As Diamandis talks about Love & Fear, nothing gets her going as much as feedback on the songs. Even for diehard fans, it’s easy to forget just how far she’s come and what it took to get there. Because Diamandis should not have been a singer. She was not discovered, via YouTube or on the subway, nor has she ever competed on a television singing competition. She burst onto the music scene whether it was ready for her or not. It’s what makes the evolution of her lyrics, her sound, and her look, an entirely relatable, human experience.“I really, deeply believed that I should be doing this and that I should be a singer. I had a very strong, innate instinct,” she insists. “That’s the only way I can explain it. Because on paper, it seemed mad — someone who didn’t sing in public, had never written a song would be choosing this career path when, really, I should have been going to university and doing something more academic. But it’s why I kept trying.” 215,298. I love her. I'm of Greek heritage and when I first discovered her back in the day, I was elated that I finally had a Greek pop star to jam too. My soul will descend if she really does end up working with Lana. I've been wanting a collaboration forever. My Favorite Marina Songs: (in no order) Immortal. Blue. Walijska wokalistka Marina And The Diamonds, ktĂłra zaƛpiewaƂa przed koncertem Coldplay na Stadionie Narodowym we wrzeƛniu, ponownie odwiedzi Polskę. Piosenkarka wystąpi 30 stycznia 2013 r. w warszawskiej Stodole (datę koncertu zmieniono na 16 kwietnia) Marina And The Diamonds zagra peƂen biletowany koncert, podczas ktĂłrego wykona utwory ze swoich dwĂłch dotychczasowych pƂyt - "Family Jewels" i "Electra Heart". Energia i urok wokalistki w poƂączeniu z jej specyficznym poczuciem humoru i oczywiƛcie przebojową muzyką zapowiadają moc wraĆŒeƄ. SƂuchacze, ktĂłrzy mieli moĆŒliwoƛć zobaczenia artystki w akcji podczas jej krĂłtkiego występu przed koncertem grupy Coldplay, bawili się znakomicie przy jej piosenkach, o czym ƛwiadczą amatorskie nagrania zamieszczone w internecie. Koncert Mariny And The Diamonds zapowiada się jako jedno z ciekawszych wydarzeƄ koncertowych w 2013 roku. Film Marina Lambrini Diamandis, ukrywająca się pod pseudonimem Marina And The Diamonds, zadebiutowaƂa w lutym 2010 r. albumem "Family Jewels". PƂyta wylansowaƂa dwa spore przeboje - "Hollywood" i "I Am Not A Robot". Estetyka utworĂłw wokalistki oraz sposĂłb interpretacji przyniĂłsƂ jej porĂłwnania do takich artystek, jak Regina Spektor czy Shakira. Sama zainteresowana wƛrĂłd swoich inspiracji wymienia Madonnę, Britney Spears, Garbage i Kate Bush. Drugi album wokalistki zatytuƂowany "Electra Heart" przyniĂłsƂ zmianę repertuaru - pojawiƂy się akcenty typowo klubowe oraz więcej brzmieƄ syntetycznych. PƂytę zapowiadaƂy single "Radioactive" oraz "Fear And Loathing", ktĂłre zdobyƂy uznanie krytykĂłw i sƂuchaczy. Najnowszy singiel Mariny And The Diamonds "How To Be A Heartbreaker" ukazaƂ się w atmosferze sensacji - wytwĂłrnia pƂytowa prĂłbowaƂa zablokować premierę teledysku do piosenki twierdząc, ĆŒe gwiazda wygląda w nim zbyt niekorzystnie. Marina będzie obchodziƂa swoje 27 urodziny 10 paĆșdziernika. Bubblegum Bitch. 2:35. MARINA AND THE DIAMONDS | "ELECTRA HEART" (Full Album with Lyrics) [2012] 1:06:33. Explore songs, recommendations, and other album details for Electra Heart by Marina And The Diamonds. Compare different versions and buy them all on Discogs. Another one recommended to me by a friend. The Family Jewels is a predominantly piano rock album by MARINA, formerly known as Marina & the Diamonds. I haven't heard anything from them prior to hearing this, though I did preview "Oh No!" before listening to the project in full, and boy did that pull me in, but more on that later. The Album opens with "Are You Satisfied?," which sets the tone for the album very well. Many strings and prominent piano, with Marina's unique voice at the forefront. Additionally, this song in particular uses some smoothly distorted electric guitar as well, giving the track some more drive. it isn't my favorite from the album, but works well as an opener. However, things really pick up with "Shampain," where the dark, yet clever lyricism starts to truly become noticeable. Starting off with a darker sounding synth bass (which I absolutely love), it quickly transitions into a happier sounding song. This "happy song, dark lyrics" dynamic makes numerous appearances on this album. In this case, the piano driven instrumental makes for a great backing to her story of drowning out her pain with "Shampain," but only feeling more and more guilty about it afterwards, and this is what keeps this album from feeling derivative and basic. Although the "happy song, dark lyrics" dynamic has been overused to oblivion, the way Mariana does it stays interesting throughout the album. Even on songs where I don't like the instrumental, I cannot find a spot on this album where I can complain about the lyrics. Oh, and of course I have to mention the amazing chorus of this song. Some amazing harmonies there, making for a great second track. The next track, "I Am Not a Robot," is the closest I get really disliking a song on this album. I don't care for the over-the-top singing on this track, especially on the chorus. It is very out of place. The instrumental feels bland, and while the lyrics stay interesting, lyrics can't save a song that's bad instrumentally. I do like the vocoder use on the pre-chorus though. Luckily, "Girls" quickly brings me back into the experience. The piano driven instrumental is really good, and all the details add to the experience, though the accordion feels a bit weird during the bridge. And unlike the last track, the over-the-top vocals on this one feel very fitting on this track. "Mowgli's road," with a name referencing Rudyard Kipling's The Jungle Book, is a solid track, but is brought down by little details like the not-so pleasant bridge. That said, it still keeps the creativity from some of the past tracks. "Obsessions" isn't a song that I have too much to say about. The clavi that appears later in the track is a fitting choice for the song, but other than that it doesn't really bring many new ideas to the table. But it is at this halfway point that things start to become much more consistent. "Hollywood" immediately made me read along with the lyrics. "Hollywood infected your brain, you wanted kissing in the rain" is an infectious chorus, and the instrumental is also really well done. Another highlight from this project. The following song "The Outsider" is another song improved by it's lyrics. The background vocals on the chorus repeating "On my own again" are what make me keep coming back. The theatrical "Hermit the Frog," is a song that reminds me of Faces from Owl Eyes, and EP released the following year (especially the song "1+1"). The chorus also sounds similar to some of the songs on Miike Snow's first two full-length projects, the first of which of which came out the year prior to the release of this album. It just shows how much this album uses the sounds of it's time, but in ways that don't let it sound dated even over a decade later. This song is followed by the most popular on this album, and my personal favorite, the groovy. danceable, piano-driven cut "Oh No!" From the start of this thing, with the abstract percussion pattern and little electronic details, this thing is a consistent pop banger. The piano riff on the verses is very gratifying. The vocals are on point, and this song has some amazing production. Although it is a bit different from some of the other songs on this album, it still fits in perfectly. It also continues the lyrical dynamic I mentioned previously, with lines like, "If I fail I'll fall apart" and "Now real life has no appeal" standing out. The chorus is once again, infectious. This song is a masterpiece, showcasing all of this album's best qualities and adding more ideas into the mix, but still keeping it consistent. The album continues from there with a bit of a weaker track, "Rootless." Though I do appreciate it for it's attention to detail, it doesn't really add much else to the experience. It could've been a B-side if you ask me. This is followed by a well-placed slow burner, "Numb," once again displaying that previously mentioned lyrical dynamic. It also has a sound that Lana Del Rey would go on to use in the years following this release. Finally, this album concludes with the odd closer "Guilty." Unlike a lot of the tracks on this album, the soundscape fits the lyrics, sounding dark and sinister. This might be the only song on here that doesn't feel happy at any point throughout. This makes for an interesting closing track, but the placement was most definitely intentional and well-planned. The Family Jewels is a very creative project both sonically and lyrically. From flat out bops like "Oh No!" to slow burners like "Numb," Marina creates a very unique and well-crafted experience, with a great voice and lyrics to back it up. Edit: This album grew on me with repeated listens. Unlike Be the Cowboy, where I only came back to two or three of the tracks, I came back to many of the songs on this project. To give brief updates on my thoughts on each song, "Are You Satisfied?" grew on me a lot. The lyrics are some of the most hard-hitting on here and the instrumental really sets the tone for the album. I still agree with my previous statement that this song works well as an opener, but I think the reason I didn't care for it that much is because I wasn't ready for this special blend of genres. I finally see why my friend praised this song so much out of them all. "Shampain" has become my new personal favorite from this collection. The distorted synth-bass at the beginning that continues throughout the rest of the track is still amazing. The lyrics are the best on here. Immaculate production, amazing chorus, and so much more make this track one of Marina's best. "I Am Not a Robot" still isn't my favorite on here, but I can appreciate the beautiful moments on here a lot more. Certain details bring the track down, but the lyrics are on point and it adds to the broad range of sounds this album covers. "Girls" is a still a solid track. Not much has changed with my thoughts on this one. "Mowgli's Road" grew on me a little bit. The song is well crafted. The clavi on this song is a welcome addition too. The bridge with those weird vocals still doesn't sit right with me, but the rest of the song is really good. "Obsessions" starts off a bit boring, but grows into a more complete piece. Not much else for this one either. My original thoughts mostly still apply. "Hollywood" is as much of a 2010's pop banger as it was when I first heard it. Hosting even more clever lyricism, this song, as I said in my first review, is truly "infectious." "The Outside" remains a highlight. Is it because of the background vocals singing "On my own again" during the chorus? Maybe, but it doesn't mean you should write the rest of the song off. The build-ups to each chorus make each chorus all the more satisfying. "Hermit the Frog" displays the theatrical elements present throughout this project most prominently, but as I'll touch on more in my final thoughts, those influences really add to the track. The many different harmonies on the last chorus is one of the most beautiful parts of a song I've heard. Plus, it showcases Marina's knack for good chord progressions, which appear countless times on this project. This one heavily grew on me. Very inventive. My thoughts on "Oh No!" remain the same. Great track. "Rootless" features some nice subtle orchestral swells during the verses. It has a very elegant sound, and although it isn't one of my favorites, it doesn't take much away from the experience as a whole. "Numb" seems to be a least favorite for many listeners, but I find it to be a gorgeous ballad. The chorus is beautiful as usual. This song takes the elegant sound of the previous track to the next level. And finally, "Guilty" remains a great closer to the project. So what are my final thoughts? The Family Jewels is one of the better pop albums of the 2010's. it offers some of the best pop songs of the decade, covering a diverse range of sounds. I could listen to almost any of these songs on repeat or just listen to the whole project, and that's one of the best qualities of an album. It's even a quality you'll find in my favorite album of all time, The Bones of What You Believe. Additionally, I have to give props to Marina for utilizing theatrical elements in a way that brings more life to the songs. Usually, these elements only make a song overly dramatic and annoying, but the way they're cleverly implemented here makes for a more fulfilling experience. Those elements, combined with the pop sounds of the early 2010's with a piano rock twist, and of course Marina's signature sarcastic vocal delivery, make for a very satisfying experienced. It's a shame that she never quite built this sound up into something even greater with her next releases. So yes, Marina. With this project, I am very satisfied. BONUS: "The Family Jewels," which is the title track for this album, ended up being a bonus track only found on the deluxe edition. This cut is creative in its own unique ways though, so I encourage those that listen to this album to make sure they hear this song along with it. It should've made is onto the final cut, as it would've added some cool new 14 January 2022 Track Ratings: 1. Are You Satisfied?: 6/10 2. Shampain: 9/10 3. I Am Not a Robot: 3/10 4. Girls: 8/10 5. Mowgli's Road: 7/10 6. Obsessions: 6/10 7. Hollywood: 8/10 8. The Outsider: 8/10 9. Hermit the Frog: 8/10 10. Oh No!: 9/10 11. Rootless: 5/10 12. Numb: 7/10 13. Guilty: 8/10 Favorite Track: Oh No! Least Favorite Track: I Am Not a Robot Overall Rating: NEW: 7 February 2022 Track Ratings: 1. Are You Satisfied?: 8/10 2. Shampain: 10/10 3. I Am Not a Robot: 6/10 4. Girls: 8/10 5. Mowgli's Road: 8/10 6. Obsessions: 7/10 7. Hollywood: 8/10 8. The Outsider: 8/10 9. Hermit the Frog: 10/10 10. Oh No!: 9/10 11. Rootless: 5/10 12. Numb: 7/10 13. Guilty: 8/10 Favorite Track: Shampain Least Favorite Track: Rootless Overall Rating: Singer-songwriter Marina Diamandis performs in concert as Marina And The Diamonds during their “Neon Nature Tour 2015” at The Electric Factory on Saturday, Nov. 7, 2015, in Philadelphia. Marina Diamandis says she contracted COVID-19 after being fully vaccinated. Though her symptoms were not severe, Diamandis said last week "sucked" and Par Caroline J. · PubliĂ© le 12 juillet 2010 Ă  13h50 Sous le nom de Marina and the Diamonds se cache la chanteuse galloise (Wales) Marina Diamandis. À 15 ans, aprĂšs avoir dĂ©sertĂ© les bancs de l’école, elle s’installe Ă  Londres et intĂšgre la West London Music School. Cette formation lui permet ensuite de tenter sa chance Ă  divers casting et dĂ©croche un rĂŽle dans la comĂ©die musicale Le Roi novembre 2007, elle propose sur sa page MySpace son premier EP, Mermaid vs. Sailor. Il ne s’en vend que quelques dizaines mais ces chansons lui mettent le pied Ă  l’étrier. Quelques mois plus tard, elle assure la premiĂšre partie d’un artiste australien lorsqu’elle est enfin repĂ©rĂ©e par un dirigeant de Warner qui dĂ©cide de lui faire signer un sort en juin 2009 un deuxiĂšme EP, intitulĂ© The Crown Jewels et contenant le single I Am Not a Robot. BĂ©nĂ©ficiant dĂ©sormais de l’appui d’une maison de disques, elle se produit sur plusieurs scĂšnes, notamment aux prestigieux festivals anglais de Glastonbury et premier album de Marina and the Diamonds, The Family Jewels, arrive dans les bacs en fĂ©vrier 2010, portĂ© par les extraits Mowgli’s Road et Hollywood. La chanteuse envisage dĂ©jĂ  d’en proposer une rĂ©Ă©dition enrichie de morceaux enregistrĂ©s Ă  Los Angeles en collaboration avec le producteur Benny Blanco et le guitariste Dave Sitek. « Ce fut une vĂ©ritable opportunitĂ© pour moi, affirme-t-elle. Nous formons un Ă©trange trio, une combinaison pop et indie. »Horaire : 20hTarif : 25,30€RĂ©servations!À lire aussiQue faire ce week-end Ă  Paris avec les enfants ces 30 et 31 juillet 2022Que faire cette semaine du 1er au 7 aoĂ»t 2022 Ă  Paris
Marina and the diamonds singer musician fan made pop merchandise graphic t shirt Unisex Ultra Cotton Tee. (9) $24.94. $29.34 (15% off) Marina Diamandis Quote "Just found out the world doesn't revolve around me." Shocked & upset. » on Twitter. (283) $16.99.
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She was born on the 10th October of 1985 in Abergavenny, Wales. She began creating and producing her own music in 2005. In 2007, she released her debut EP, Mermaid vs. Sailor. She released her first single (a double A-side, Obsessions/Mowgli's Road) through Neon Gold Records on the February 14th, 2009, closely followed by The Crown Jewels EP in June 2009. Now signed to 679 Recordings, her first single with t
 read more Marina Lambrini Diamandis (Greek: ÎœÎ±ÏÎŻÎœÎ±-ΛαΌπρÎčÎœÎź ΔÎčÎ±ÎŒÎŹÎœÏ„Î·; born October 10th, 1985) is a Welsh singer, known professionally as MARINA (previously Marina and the Diamonds). She was born on 
 read more Marina Lambrini Diamandis (Greek: ÎœÎ±ÏÎŻÎœÎ±-ΛαΌπρÎčÎœÎź ΔÎčÎ±ÎŒÎŹÎœÏ„Î·; born October 10th, 1985) is a Welsh singer, known professionally as MARINA (previously Marina and the Diamonds). She was born on the 10th October of 1985 in Abergavenny, Wales
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This taken right before I went to the Marina and the Diamonds concert last night. sdfkjaskdlj It was so great, I can’t even. One of the best nights of my life. Rah. I just really wanted to get a picture of my outfit, so here you go ;D . Well I need to go run and do homework. Merps ;-; I feel numb most of the time. Instagram: @t.holla

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The best album credited to Marina And The Diamonds is Electra Heart which is ranked number 2,985 in the overall greatest album chart with a total rank score of 509. Marina And The Diamonds is ranked number 1,240 in the overall artist rankings with a total rank score of 1,165.

ï»żThis article is an update to the review of just the Love part of the album. Marina releases first part of upcoming double album Love + Fear Marina (formerly known as Marina and the Diamonds) announced her comeback at the start of the year and launched her single ‘Handmade Heaven’ with the promise of a double album dropping later this year. We learned that the record is titled Love + Fear and was supposed to be released entirely on the 26th of April. On the 4th of April however, the Welsh-Greek pop artist surprised everyone by sharing the first half, simply titled Love, already. On social media she explained how she created the two parts as seperate albums and wants to give her fans the chance to experience them as such. We now have the full album together and it is her first work since 2015’s LP Froot. A Bit of Pop Music reviews the new album track by track! 01. Handmade Heaven ‘Handmade Heaven’ was chosen as the first single of the project. The uplifting light electronic midtempo pop track is quintessentially Marina with her signature vocals moving from deep tones to soaring high notes. The chorus has a beautiful melody that sonically represents the ‘handmade heaven’ she is singing about. In my humble opinion it was not the strongest track to lead the project with, but a worthy addition to her discography either way. 02. Superstar On second single ‘Superstar’ Marina moved to more basic, radiofriendly pop with a predictable instrumental drop as a post-chorus. Having said that, she makes the genre of the ‘tropical bop’ her own with her unique vocals and strong melodies. The production is on point and lyrically it is a proper love song. Not one of Marina’s strongest or unique tracks, but it has its place on this record! 03. Orange Trees If you want to fault Marina for releasing more basic pop tunes this time around, ‘Orange Trees’ is the one to complain about, but I simply can’t because it is so damn infectious! This breezy, guitar-driven tune brings summer straight through your speakers and I can’t help but smile every time I hear the chorus kick in with the ‘flowers in my hair’ lyric. This will be such a good soundtrack to summer and the fact that she wrote it about the Greek island where her family is from, gives it some extra nostalgic quality. 04. Baby (feat. Clean Bandit & Luis Fonsi) Marina’s Clean Bandit collaboration ‘Baby’ arrived at the end of last year and lead into the release of the band’s album What Is Love?. Clean Bandit weren’t able to lift Marina’s chart curse as the summer bop did not make it past the 15th position in the UK charts. At first I thought this tune would be more of a Clean Bandit track which happened to have Marina’s vocals, but the track does actually make sense in the context of Love. 05. Enjoy Your Life ‘Enjoy Your Life’ was teased on Marina’s Instagram last year. This bouncy synth pop anthem is one of the most uplifting and carefree tracks she has ever put her name to. There are some clear 80s influences in the flawless production by OZGO and Oscar Holter. Lyrically Marina urges her listeners to not worry about everything in life and to sometimes just embrace the problems you are facing and to enjoy your life either way. What a bop! 06. True ‘True’ was produced by OZGO and co-written by Marina, Noonie Bao, OZGO and Oscar Holter. The upbeat electronic pop banger starts out promising, with suspenseful verses, but the chorus could have used a bit more bite. From the middle-eight on, the production picks up slightly and the last chorus therefore hits a little harder, but in terms of melodies, this is certainly not Marina’s strongest moment. 07. To Be Human In comparison to most of the tracks on Love, ‘To Be Human’ is definitely more classic Marina (and the Diamonds). The midtempo pop track, produced by frequent Lorde collaborator Joel Little, is guided by a piano melody while drums kick in during the first chorus. Marina describes a whole lot of places in the verses in her signature, sometimes quite literal, writing style, stating that she has travelled all over the world but still wonders what the meaning is of being human. The delicate ad libs she does over the last chorus form one of her finest vocal moments ever! 08. End of the Earth ‘End of the Earth’, co-written with Jospeh Janiak and James Flannigan and produced by Flannigan, is the most ominous sounding track of the Love side, but at the same time has a loving message. “I’ll give my love, I don’t care if it hurts, ’cause I’ll love you ’till the end of the earth”, she sings over thunderous drums and deep synths. The climax in the last minute is a spectacular way to end this side of the double album, as it is the most adventurous moment production wise. 09. Believe In Love The Fear side starts out with ‘Believe In Love’, a midtempo tune with punchy beats in the verses that sound inspired by the productions on Taylor Swift’s Reputation. The chorus however, has a more laidback vibe and soaring melodies on which Marina’s characteristic vocals are given room to shine. In the lyrics, Marina tries to convince herself to believe in love again and give the person that entered her life a chance. It is a lyrically more hopeful start of this side of the album than expected! 10. Life Is Strange The Joel Little produced ‘Life Is Strange’ was chosen as the track that received a push on the New Music Friday playlists on Spotify. It is a logical choice as the song is one of the more instant tunes of the second lot. The string sample that runs throughout tune is very catchy and the same goes for the vocal melodies at the end of the chorus. In the lyrics, Marina seems to realize that she is not the only one who does not know what to do with her life and that we simply have to accept that we don’t know what is coming as life is strange. Preach it sister! 11. You ‘You’ is one of the more uptempo cuts of the Fear side of the album. The production is simple and straightforward, while the composition is extremely poppy. The repetition of Marina’s high pitched ‘you’ is infectious without getting on the nerves easily. Marina admits in the lyrics that she is just as flawed as the person who is breaking her down. We love an honest bop! 12. Karma On ‘Karma’, Marina shows her anger about influential men both in the music and movie industry falling off their pedestals for abusing their power. Marina watches as karma catches up with them over a seemingly carefree tune with a summer vibe going on. There even seems to be some Greek laika influences in the rhythm and instrumentation of the post-chorus parts. It is easily one of the catchiest and strongest tunes of the whole album! 13. Emotional Machine ‘Emotional Machine’ was one of the first songs that Marina presented of this era. She performed it live for the first time last year. The track is co-written with Caleb and Georgia Nott from New Zealand electro pop duo Broods. Georgia provides backing vocals as well. The result is a smooth light electro pop production with a hypnotic, yet slightly repetitive chorus. 14. Too Afraid Midtempo pop tune ‘Too Afraid’ is easy to forget on first listen and nothing about it really stands out on first listen, but once you get the know the lyrics a little better, you find out they actually tell an honest story about Marina’s life. She explained how the song is about struggling to make actual changes and the challenges of city life. She even said how the track has helped her to make the necessary changes to find happiness so we totally see why ‘Too Afraid’ is special to her! 15. No More Suckers ‘No More Suckers’ is directed at the people in Marina’s life that try to take advantage of her. They don’t contribute anything to her life, but just eat her food and mess up her towels! Together with Alex Hope and James Flannigan she wrote a sassy little tune about it with an effortlessly catchy chorus. A read has never sounded so breezy before! We love it when our pop stars deliver important life advise over hooks for days. 16. Soft To Be Strong Marina closes the album delicately with the gorgeous ballad ‘Soft To Be Strong’. It is a cute love song that talks about how a relationship grows stronger when you actually dare to show your soft and vulnerable side to the person you want to be with. A beautiful thought, packed in an impeccable melody that closes Marina’s accomplished fourth studio album. On Love + Fear, Marina shows herself to be more mature and carefree than ever before, which causes her tunes to be generally slightly more basic and at the same time contemporary sounding. Although this might not be the best work of her career, the melodies are still very much on point on most of the songs and the productions are lush! While she delivers the bops in the first half, the more mature and deep lyrics follow in the second. A well balanced record that sure was worth the wait! The music does not belong to me, it belongs to it's rightful owner; Marina and the DiamondsThis is for entertainment purposes onlyMake sure to like and subsc
I'm obviously a huge fan of Marina and I was talking to this guy who liked her first 3 eras. He was telling me how Marina lacks footing as an artist. I was confused, and asked him to said her first album was great, if not a bit eccentric for a debut album and went on to say Electra Heart pissed off a lot of fans but he loved it because it still sounded like Marina despite her singing through a character. And then he went on to say she shifted gears very fast with Froot and didn't lean into the sound but rather went full throttle. He loved Froot but he said she should have played more with the EH era. We were talking and he went to say she doesn't have any footing as an artist like Britney or Madonna because even though they reinvented themselves, they have a signature. He said L+F was trash and her new album was like all past 4 eras combined and uneven. I just found his opinion really disagree. Even though Marina has had a different era and sound for each era her lyrics and voice are her signature. Even though L+F was lyrically boring and regressive, Handmade Heaven had very interesting lyrics, End of the Earth had beautiful poetry words, and a few other songs did, too. Marina's voice is so feel like artists who lack signature and sound are Christina Aguilera because her eras changed so drastically and Demi Lovato. The two do not have any signatures in terms of music because they are all over the place...What do y'all think? Do you think Marina shifted gears too fast between EH and Froot? For me, the gear shifting is from Froot to L+F, if anything.
EUR 204.97 or Best Offer + EUR 23.29 postage from Finland *SIGNED* Marina And The Diamonds - Electra Heart CD Deluxe Slipcase Pre-owned | Private EUR 186.33 or Best Offer + EUR 23.29 postage from Finland Marina and the Diamonds SIGNED FROOT Limited Edition 7” Vinyl Box Set NEW SEALED Brand new | Private EUR 547.55
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