May 8th, 2012 
James Shotwell 
Artist: Marina and the Diamonds
Album: Electra Heart
Genre: Electronic/pop
Label: 679, Atlantic
I fell in love with Marina Diamandis quite some time ago, as a piercing and bolder alternative to the much-vaunted Florence and the Machine. I write this because Marina is often dismissed as an also-ran and a poor man’s imitation of Flo in these parts, which is not only tremendously unfair but says nothing of the individual strengths of both artists. Marina’s lyrics are caustic and sharp and her music, as anyone who has listened to The Family Jewels can attest, more diverse and rugged than anything her peers have mustered. Electra Heart, Marina’s latest and a vibrantly stirring work, will do nothing to endear those whose opinions she has polarized in the past, and may even set her apart from some of her long-time fans. Yet, for all that it’s a troublesome and not entirely convincing affair, it’s extremely brave, determined, and intense, underlining Marina’s more visionary approach to her songwriting and celebrating her ability to say something shocking in the unlikeliest of fashions.
Fashion is a key word here, as Electra Heart is based upon an eponymous character and her story forms the basis of the songs. She is, Marina has explained, envisaged as someone cold, ruthless, invulnerable; someone who has created a glitzy and powerful control of her body, her feelings, and her image. This sense of self is brazen and powers the entire album, which is dressed up in dance and disco beats in a marked departure from The Family Jewels. It may seem clichéd to go down this route – particularly as intensely artificial iridescence is the medium of choice for most manufactured pop stars today – but on reflection, it makes perfect sense to use electronics on an album that’s primarily about creating yourself, superficiality, and never relinquishing control. Imagined, created, inorganic music makes perfect sense, as does the removal from prominence of elements that tend to weaken resolve (love, emotion, and vulnerability). It hardly needs to be said that these adventures won’t appeal to everyone and further, that they don’t always work, but it’s a supremely confident and quirky move that reflects Marina’s ethos and personality.
What we have in Electra Heart thus is a collection of songs whose packaging is racked by imperfection, but whose lyrics showcase all the acerbic extravagance one associates with Marina. And, considering the album’s concept, it’s remarkable how many of these do address fear and human weakness. The first half of the album is, generally, sturdier than the latter. “Bubblegum Bitch” is a terrific opener – bass-oriented, invigorating, and tremulous. It has an atmospheric bite and conniving, rasping tone in both vocals and music that’s infectiously enjoyable. “Primadonna” mixes a glassier, exposed vocal with abrasive, bouncy musical effects. It’s a bit of a comedown from the opener, but there’s a tongue-in-cheek irony to the way she sings, even during the sugary moments – infusing the song with controlling, vociferous, matter-of-fact power that compels and contains. “Lies” is the first problematic affair. The dance elements (which, unfortunately, come over a bit dubstep) strain and stagnate the sound and drown the lyrics. This is unfortunate as the theme – unwillingness to confront defeat or detriment in a relationship – is honest and stirring. “Homewrecker” on the other hand is a beautiful example of how well her musical approach can complement her lyrical themes. She grapples with imperfection in love once more, and how it fails to live up to ideals only to become something real, insidious, and painful. The pounding electronica overtones numb this as much as possible, yet her smarting vocals give it a vivid and gnawing presence.
“The State of Dreaming” deals with insecurity and weakness, using a climactic bell and swirling drums to add wide-scale dynamic to the innermost flutterings. It’s remarkably personal, unabashed, and unafraid, leading neatly into “Power and Control,” a disco-tastic meditation on confrontation. The instrumentation in the chorus is elegant and striking, with decorative piano tempering the rhythmic parts. Marina’s vocals are muted, but it all combines to create something shriller and edgier than you’d expect. “Teen Idle” then is a surprise – emotive and troubling, it’s a haunting throwback to the insecurities addressed in much of The Family Jewels. A dwindling piano lingers over the programming and vocal flourishes to give it an almost fairytale-like air, something wishful and dreamy.
There is a threat that the pervasive disco ensemble may make these offerings seem toothless or insubstantial, but while the aggressive beats can mute the writing, I really feel that Electra Heart is a tremendously realized album. It’s glitzy and glamorous but this is no reason to dismiss it as vacuous, and you may be surprised to feel how easily it takes hold. This is not a matter of writing a catchy jingle and attaching words, but of using something a bit more deranged to explore the conviction of her words.
SCORE: 8/10
Review written by Grace Duffy
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