After ten years of waiting, Marina fans have finally gotten what they asked for — the release of the 12th track written for “FROOT,” Marina’s third album — on its tenth anniversary. This release follows a new album by Marina, titled “Princess of Power,” on June 6.
Marina — formerly known as Marina and the Diamonds — is most widely known for songs like “Primadonna,” “How to be a Heart Breaker” and “Bubblegum Bitch,” popularizing overtly campy, quirky and over-the-top music and aesthetics.
“Electra Heart” — Marina’s 2012 album — is known in particular for its influence on Tumblr culture, and is Marina’s most commercially successful album. “FROOT,” written entirely by Marina, has received widespread praise from critics and is dubbed one of her most cohesive albums by fans.
Many musicians talk about making their way up, but in “I’m Not Hungry Anymore,” Marina says the opposite. She says in the song, “That feeling’s gone, that burning flame, that tricked me time and time again.” Not many artists, especially those who have seen a certain level of success, would talk about losing the “fire.” In fact, this is an almost embarrassing thing to admit in music, because it shows people that you may be “falling off.” Yet the fact that this was written for the original “FROOT” album in 2015 and is now being officially released tells me that she’s finally stepping into this message.
As of 2022, Marina is no longer signed to Atlantic Records and has gone independent, making “Princess of Power” her first independent release.
There is no need to prove yourself to anyone, or ask, “Are You Satisfied?” As she said in Venus Flytrap, she is a “millionairess” who’s doing things in her own way.
Subtle? Minimalist? Not Marina.
No, into the album, Marina’s music resides in a kitschy-campy niche with maximally produced instrumentals. This album embodies her musical essence. With Marina, more is more. Heavy synth, 70s and 80s inspired sounds; everything is glittery, shimmering and dazzling. The dizzying dance-pop goes with the glam of the album, while almost drowning the sadder, messier parts. It’s a sterling silver dressing poured over fresh and rotten vegetables.
Marina’s current music feels like a sequel to all her previous works. This is not the first time Marina has been introspective in her music, but the growth and maturity reflected in the lyrics is astounding. She’s gone from somebody who feels the pressure of Hollywood and is trying to stay true to herself, to somebody who no longer has to try at all.
A strong point of the songs is how Marina navigates current trends while retaining her style. One could say she kept up with the times, but I would say that the times are keeping up with her.
“Cuntissimo” feels like if “Primadonna Girl” grew up and became the rich, unmarried aunt we all knew she would be. Two other songs that exemplify this are “Digital fantasy” and “I <3 U”. In “I <3 U”, she says, “They’re all going to Y2K, we’re going to the 70s.” She also throws a self-deprecating jab at her generation with “Do people still say ‘YOLO’?”
“Everybody Knows I’m Sad,” being placed right after “Digital Fantasy,” is everything. In “Digital Fantasy,” you'll have people who validate you over social media, but don’t want you or your love in real life. “Everybody Knows I’m Sad” is the only song that has toned down instrumentals, and one where she talks about acting like she doesn’t need connection and disappearing to create intrigue. But she knows she’s performing, and she knows other people know she’s performing.
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“Adult Girl” will resonate with virtually every young adult woman alive right now. Older listeners have quickly recognized “Adult Girl” as the sequel to “Teen Idle.” High school is usually when “children” transition into adulthood and are introduced to the more “unwholesome” aspects of existence. We were at a point in our lives where we think we know everything, just as much as the adults, if not more. But compared to “adults,” they are innocent.
Marina’s vocals are phenomenal through and through. Her range extends from low, growling delivery to almost whistling bridges and choruses. She has a very audible vocal development compared to her albums from her “prime.” “Princess of Power” may not be a hit in the eyes of those looking through nostalgia-tinted glasses, but in its own right, it will be a retrospectively appreciated album.
Shin Thant Hlaing is a beat reporter for the Daily Lobo. She can be reached at news@dailylobo.com or on X @dailylobo
