vrtvie

I've already pointed out how y'all criticised Marina for being fake deep yet during FROOT so it's getting really boring. Haters could even say that Electra Heart was fake deep and she just wanted to get the commercial coin lol... nihil novi sub sole.

We still hope it is sis! Just a different title.

As far as Honeymoon is for sure similar to FROOT, Honeymoon is amazing, its production is beautiful and feels like a long movie; and that's why I don't like FROOT that much -- it lacks those sonical transitions. Just imagine them between Happy / Froot / I'm a Ruin / Blue / Forget, oh God, I'd kill for that. Or even Froot the acoustic version similar to Honeymoon the song... And yet, here you have midtempo I'm a Ruin and then suddenly boom boom pop Blue and them suddenly rocky Forget. It's just so sudden that I do not enjoy listening to this album as a whole, and when I do it, I know the album is amazing. Here I don't; I tend to listen to FROOT tracks rather separately. That's why I sometimes wonder how the album would feel if polished by somebody else than Kosten.

I'd say its strength is the sonical similarity to the typical indie rock-pop records. FROOT definitely sounds more similar to Florence + the Machine or St. Vincent than anything else (TFJ is rather original and the only similar album is The Dreaming by Bush). Nothing impressive in my opinion though. I personally only like the storytelling aspect from Happy to Gold -- shame that those tracks are not connected sonically (like without instrumental breaks between, it would feel splendid). Can't Pin Me Down, Better than That, Weeds, Solitaire -- I like them but they seem rather lost. And then there are two existential tracks at the end. Well.

Well I didn't explicitly mean that the fans are responsible for her interacting with them less, I just wanted to point out that saying she was engaged mostly during FROOT would be far-fetched. Remember the times when she ran her own blog in circa 2010, read letters from fans after giving us her London address, uploaded Homewrecker for free, gave us EVOL for free, fought for HTBAH video, etc etc. The fact she disappeared from socials in 2016 is understandable seeing her father had health problems and two of her family members died, yet she had to be on a year-long tour. It must've been really painful. And then she came back and started reading Twitter... I'm glad the Instagram atmosphere is much better, and that she replies to comments from time to time. I don't think her label would let her not have a Twitter profile whatsoever, but remember that she gave it up once and her team started running it, Marina HQ or something... With Tumblr, who knows, maybe once she feels inspired enough. I just hope for some live videos when the album drops. Wholeheartedly agreed. Stupid of hers to have said she hadn't known who Kate Bush was during TFJ -- these similarities cannot be THAT accidental.

She obviously had to manage the promotion for the album because the label didn't want to. For some weird reason, they didn't have faith in this record (probably after the commercial success of Electra Heart; still I don't get it). That's how Froot of the Month was born I suppose. Anyway, LOL @ FROOT being Marina at the peak of her creativity. Electra Heart who. It's probably the only concept album she'll have ever done, unfortunately, and the only one having so many references and inspirations. Now she seems more inspired by social media posts rather than classic literature. As for engagement, she probably felt really destroyed after the fandom loathed Love + Fear. Twitter stans literally diss her over and over, and she even used to post hand-written letters to us right before L+F came (they were really cute), sending wishes, writing how much the wait was gonna be worth it and so on... let alone the Marinabook thing and her Instagram posts with giant explanations what the L+F singles were about. I hope she'll get better after Ancient Dreams, which I'm sure the fandom will love, dunno about the critics though; depends on who is going to make a review.

I have everything under MARINA. It's the same person basically. Word is that Pussy Riot-featured remix is in the making.

Valley of the Dolls is such a beautiful ballad. No wonder it's so hard to get into any of the L+F piano crap. This one is exceptionally powerful... Probably my favourite ballad from the entire repertoire of Marina's. Diamandis and Nowels created masterpiece.

I've just remembered how y'all hated FROOT for weak lyrics, especially Forget and Weeds. Those were times. And now it is a favourite album of so many. LOL.

There's a third single coming, probably late May or early June.

But that was not a regular tweet, oh my. I know what you mean but tweets like "Thinking of you today. Happy New Years", "I never wanna say g'bye to the Princess of Oi", "Love u, gf.", "How's My Girl?" seem quite intimate (and this all only from 2011/2012). Anyway, I'm just asking for theories.

So you'd seriously know someone for almost 10 years, invite them over several times, present them your family, buy friendship bracelets and wear them later on stage, go together for a session with your producer, post pictures together on socials from dining and hanging out without other people around, name them "my girl" even on a radio, and all that without even knowing in advance whether you click or not?

Anyway what's the tea with her and Lana? What do you think, are they still friends? If not, what might've happened? I dare not to believe that such a silly thing as a question for culture could've been the reason she unfollowed her after meeting her family, getting friendship bracelets, thanking in booklets etc. I do realise they mostly did it because they had a shared fanbase but please, no fan asked them to be best friends forever, we just asked them to collab. I can't imagine they just started hanging out with each other just because fans liked that (especially given that they tweeted to each other in 2011). It's even weirder now that Marina lives in Los Angeles.

TFJ: - Oh No! - Hollywood - Mowgli's Road (love its theatricality and weirdness, but it took me a while to get into) Electra Heart: - Sex Yeah - Living Dead - ... Well here I can't make a decision really. Obviously not any of the Dr. Luke tracks (HTBAH is basically Homewrecker 2.0 and Lies is Starring Role 2.0); for the bangers I much prefer Power & Control, Homewrecker and Bubblegum Bitch made by Kurstin and Nowels (love you papas), and for the ballads, both Valley of the Dolls and Starring Role are perfect (Teen Idle probably gets exhausting after all this time spent on Tumblr). Also Radioactive and Starring Role in acoustic versions are incredible, highly recommend. FROOT: - Froot - Immortal - Happy / I'm a Ruin Love + Fear: - Handmade Heaven - End of the Earth - Superstar probably, because I used to find it quite catchy, although I understand the production is rather cheap. If not this, then Believe in Love or Emotional Machine. I wonder how it'll go with Ancient Dreams!

That's actually not as easy as it seems. The only tracks on Lamborghini + Ferrari Marina has written entirely on her own are Handmade Heaven and To Be Human (remember her saying "co-writing is killing pop music"? lol). On FROOT -- everything herself. On Electra -- Teen Idle, Buy the Stars, Fear and Loathing. On The Family Jewels -- Are You Satisfied?, I Am Not a Robot, Obsessions, Hollywood, The Outsider, Hermit the Frog, Numb, Seventeen, The Family Jewels. Plus all her earlier stuff.

We know it doesn't, but that's how people feel. I love TFJ of course, but there was a girl on YouTube who literally said she felt stressed listening to the album lol.

It's considered messy because it's "quirky". FROOT is The Family Jewels but without quirkiness, without complicated and sarcastic lyrics, without teenage angst and with simpler and cozier sounds. Go listen to The Dreaming by Kate Bush though, sweethearts.

If neither did she achieve commercial success, nor gained praise from the critics, why should she actually bother in writing *hidden* topics with content to be interpreted over and over and the artistic world to be explored over and over again? In my opinion, her first two albums are masterpieces that still deserve recognition after all those years and she doesn't need to make another one to prove her skills. Ancient Dreams is not a concept album, it is not poetry, and she is just singing what she feels like singing, and I have no problem with that. Same with FROOT. FROOT was about nothing. It was her analyzing herself and nothing else (with only the last two being a social commentary and can't pin me down which I find rather dull) -- and people still love that album. Why should she bother again? She knew exactly what she was doing when thinking about leaving the music industry. Why should she now put unrealistic expectations on herself at such age? Not all singers are meant to be wonderful artists at the level of Bjork or Kate Bush, and even though we all know her artistic capability after such gems like TFJ and EH, now she isn't depressed, she isn't attention-driven, she doesn't have to prove herself her worth. As long as the songs are catchy, the lyrics are not entirely dumb ("enjoy your life boo!! yeah you break me down!!"), her vocals are well-delivered, the production isn't bland pop, and the intentions are right, I am all happy for her and willing to support her work. The thing that bugged me the most about Love + Fear was probably her saying how that record was "her best" -- and she gave us the worst one in her entire career, having written lyrics with straight white men and not even having any production credits on it. Should she have said, "hey, this is a fun pop record, nothing much, but I like it a lot!", all the reactions would be different. What freaks me out is that at one time some of you say she is too vague singing "there were riots in America" in To Be Human where she expected the listener to guess what she was singing about (thank you for geography class, miss Diamandis), but then you dislike her Purge the Poison citing MeToo, Britney, Harvey and all that stuff as well, saying either 1) she's vague again? 2) she's too specific and leaves no room for interpretation? It makes no sense. Though I am not fond of the line "truth and all its glory, the ending of the story", she never exactly said that misogyny ceased to exist, it's just a line that has no meaning to me. For some weird reason nobody criticises Lana for singing about America, and now you expect Marina to include the whole world in her album about feminism in the Western society. I suppose there are other songs on the record left to be released that will handle their lyrical function better, but to be honest, she isn't a "fake woke feminist" and saying she's giving this vibe now is just unfair and irrational. It is not her debut album, she isn't new in the music industry, she has already written so much in songs and social media that stating the obvious, saying why exactly patriarchy is bad etc. would be illogical. It is not Lana Del Rey and Lust for Life where she suddenly decided to go political once in a lifetime.

I see your point, but honestly isn't the line mostly about her hairstyle? Like it's not saying anything personal about Britney at all, it just states the fact what she did with her hair and how people perceived her THROUGH her physical appearance (and how they do with other women -- whose worth is deemed to be determined by looks). This is exactly what Marina tried to challenge last year with her grey hair posts.

Why harsh? Knowledge about mental illnesses and media harassment was way weaker in 2007, people were generally more unsympathetic towards women. She's saying the truth; everyone would call Britney crazed back then. It's good that the society is progressing now.

I've just realised there's nothing wrong with Jack Antonoff. He's an amazing producer, what he did with Lorde and St. Vincent is splendid, but he doesn't know how to work with Lana properly. His sparing production doesn't go well with her voice that suits cinematographic sounds and rich arrangements. I'm so damn tired of all this folk on Chemtrails and soft rock on Norman. Not my cup of tea at all. Even Chemtrails over the Country Club, which is a wonderful track and reminds me of Lana's orchestral majestic tunes known from Paradise EP, would sound better if produced by Nowels, Heath, Auerbach, Haynie or even Kahne. I do realise Nowel's work with Lana went/seems to have gone downwards in Lust for Life but it's obvious they were aiming for more commercial sound, more appealing to the younger fanbase. A demo of Lust for Life the song is absolutely phenomenal; the released version is unbearable. Also don't wanna sound rude but Lana's country vibe seems inauthentic. She isn't a country girl. She's been raised in NY, she lives in LA... for God's sake. I don't mind her experimeting as an artist but if you ask me for opinion, this is just "meh ok" from me. I feel unbothered by the latest album, even if it seems cute, I just know it doesn't evoke much emotions in me and I don't feel like listening to it except for the title track and Tulsa Jesus Freak. Besides, I find it quite stupid to add Yosemite and Architecture on Jack-produced albums. Not only do they lose consistency, but also they lose their power there. With Yayo it was different because it was a reworked version with a completely different tone. And do not tell me it is a popular opinion for wanting Jack to go; critics love him and as long as they do I doubt Lana will forgo working with him.

Yeah, but unfortunately no one normally understood the meaning, especially critics who slashed her for this album a lot. A random person listening to Electra Heart wouldn't even bother to visit the Tumblr etc. I don't even think her label realised what the concept was -- remember how her manager wanted her to get rid of Teen Idle? I agree with you and regardless of the popular opinions, this album indeed was her magnum opus. Not because of the sound, vibe or anything, but the amazing conceptualism. She's done so much research and was able to blend so many ideas using the commercial pop surface it's just amazing.

Wait. I've just realised now why Hypocrates sound is so "sweet" (which I despised at first and reminded me of a random silly love song). If she indeed is referring to her father, the song sound was supposed to be sweet and childlike, reminiscent of a childhood of a vulnerable girl. I know what I'm saying might seem silly but it's a groundbreaking theory for me and probably many since this is the most overhated track from Electra Heart.

I don't want to jump to conclusions but in my humble opinion it must've been quite toxic seeing how she basically referenced to him in most of her songs and named her debut album after him; "you tell me what to say and wear" is far beyond profession-related matter only, also "you're like my dad" line in Starring Role... It definitely was not a healthy relationship after all, but I'm happy they were able, I hope, figure things out later.

Mostly yes, Marina wanted to pursue being a singer and he probably deemed it irrational and stuff, also based on the lyrics of scab and plaster, hypocrates, buy the stars, daddy was a sailor etc. he was rather conservative and getting on Marina's nerves all the time. It's hard to grow up with toxic parents when you're a child/teenager but as soon as you move out it's much easier to accept their flaws.