Review Summary: Marina's first independent output lacks a little “Je Ne Sais Quoi”
Marina Diamandis is an artist that requires very little introduction. Ever since she exploded onto the scene in 2010, she has been lauded by many as the charismatic queen of quirky indie pop music. From the infectious hook of “Oh No”, to the colossal peaks of “Numb”, Marina knows how to make a bop or two! She's never shied away from experimentation either. With each album is a completely new Marina, boasting a new outlook on her creative pallet. Electra Heart saw her delving into electronic territories, with a conceptual approach to songwriting. Froot felt more emotionally driven, with a larger than life sound. It wasn't until Love + Fear released that we saw Marina reigning in her creative talents, for something a bit more “commercial” and “stripped back”.
The following release, Ancient Dreams in a Modern Land, showed Marina at a bit of a crossroads. In one respect, it felt like pure nostalgia bait, harkening back to a sound that we've not really heard since her debut album. But again, it felt like Marina still had that little bit more to give here, and I'm not sure if that's down to the label or Marina clawing out of a slump. Don't get me wrong, I still really enjoy Ancient Dreams (check out my review in recommended albums). There's a fun selection of songs, with some great wordplay on the lyrics and unsurprisingly; it is catchy as hell. But ultimately, it felt half baked in comparison to her earlier releases.
Marina, now free from the clutches of Atlantic Records has broke free from her creative cocoon and evolved into the “Princess of Power” (POP). Her sixth studio album, and the first one under her own independent label “Queenie Records”. Enabling her complete control and creative freedom over whatever she wants to write. It's a power move I must say! And I'm all for it! Towards release, Marina described POP as “very playful and has a character-led concept, but not in the same way as Electra Heart” in a 2025 interview with Plastik.
The central theme of this album however, is “love” and the power behind it. It's quite a simple premise, but allows Marina to explore the depths of this, in a personal way. For example, opening song “PRINCESS OF POWER” allows Marina to open up about finding love in herself, “been living life locked up in a tower, but now I'm blooming like a flower”, showing the kind of empowerment you'd expect from someone escaping the chains of a record label and becoming independent. It's great to see Marina with such a positive outlook, especially after the politically fuelled narrative of “Ancient Dreams”.
POP is co-produced by both Marina and CJ Albarn (who has also worked with the likes of Carly Rae Jepson and Melanie Martinez). Musically, it is an album that is trapped between a 70's fever dream and the soundscapes of a Sega Megadrive game. Initially you're getting transported into Funkytown. Then by the albums end you're fighting (quite literally) “the final boss in the video game”. Think “Shampain” meets “The Revenge of Shinobi”. In concept it sounds like a recipe for something unique and exciting, but in reality, feels a little generic and tired.
Straight from the get-go you are pummelled with 70's dance beat after dance beat, electronic synth stabs that leave your ears bludgeoned from excessiveness, and Marina's iconic falsetto feeling a little overbearing at times. It can be a bit much. Whilst it never reaches “switch it off” bad it definitely comes across as bothersome, especially on songs which would otherwise be pretty decent listens. Take ROLLERCOASTER for example, an otherwise incredibly catchy song tarnished by obnoxious vocal samples and a chorus erring on the side of grating.
DIGITAL FANTASY also suffers a similar fate, another really catchy tune (Kate Bush-isms galore too!) which is sadly overshadowed by excessive synth. It sucks any emotional value out of the music too, take METALLIC STALLION, initially a nice change of pace but we're soon hit by the repetitive synth bass that has spread across this record like a disease. EVERYBODY KNOWS I'M SAD is possibly the worst offender here, with a chorus that goes overboard with no real pay off. Again, another shame since there is some cool things happening in the background on here.
Fortunately, Marina's performance throughout this album is great. Her charisma and vocals often save the record from falling into a bit of a pit. “I *heart* YOU” is an unapologetic love letter to 70's disco which shows Marina doing what she does best. ADULT GIRL drops all of the synth nonsense and captures a more fragile and personal Marina.
The vocals can get a little irritating in places, which ironically, comes naturally with Marina’s electric charisma. Who can forget how annoyingly infectious her breakout single “Oh No’ was back in the day. But she pulls it off with a particular charm that listeners are either going to love or hate. Songs like BUTTERFLY and CUPID'S GIRL will be a make or break in this area, with choruses which can come off a little unpleasant. It's moments like these which make this album a bit of a rough listen at times.
POP does have it's moments though. CUNTISSIMO goes a bit harder on the electronic sound and brings some nice energy. JE NE SAIS QUOI delivers a welcome change of groove (and is screaming out to be included on the next season of Emily in Paris). HELLO KITTY is a quirky little tune which is as Marina as this album gets. And closing song “FINAL BOSS” is a playful take on lo-fi video game music gone Marina. This one in particular feels like a nice throwback to “Guilty”, the closer on her debut album.
PRINCESS OF POWER is a bold album (if you haven't already gathered from the excessive use of CAPS). It's Marina's first venture as an independent artist, and it's not going to be for everyone. Even as a fan of Marina’s music, I don't particularly vibe with the overall direction. But if you're looking for something catchy, fun and a little bit whacky, then POP is well worth a listen.
