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Marina Lambrini Diamandis worships reckless front-women from indie and rock groups, and she makes pop music herself.
While in 2012 she adhered to the image of an extravagant bubblegum princess, on “Froot” she shows her talent as a songwriter and creates a whole garden of electronic music, where, however, there is an entrance to guitars. Lena Ackermann met with Diamandis in Berlin.

Anyone who dives deeper into the world of Marina And The Diamonds from the Froot album will end up in a fluorescent orchard, where instead of Granny Smith apples grow cherries from the One-armed Bandit. In the title track of the album, Marina brings out sweet-voiced trills like “Frohohohot”, turning into flirty “Lalalalala”. In the text of the song, she drops a couple of octaves below and sings with the invented accent “Hanging around like a fruit on a tree, waiting to be picked, come on cut me free”. In the video for this song, the singer bends in front of the bedroom door in a silk shirt like a diva from the 50s; the earrings are similar to pineapple. The seduction scene cannot look unambiguous.

Even the premises of the Berlin hotel where the interview takes place resembles a jar of canned Sweet Valley brand fruit: you have to look for the most important person with the same zeal as a cherry in sugar syrup. Black furniture, dark walls, heavy curtains. Right in the corner are dumped bean bags where Marina and her assistants are sitting with their heads bowed. On the table in front of the girls lies a bitten apple. They whisper excitedly, hug, and then Marina slowly stretches out in an armchair. Due to the fact that she smirks, she looks as if her face is completely composed of burgundy lipstick. She has every reason to be happy, as she found out that her single “I’m A Ruin” reached number two on the American charts.

According to the definition of Marina Diamandis herself, the current version of Marina And The Diamonds is electro-indie pop. You can see the influence of Lady Gaga and La Roux. The album includes pop ballads and energetic tracks with clever lyrics, catchy hooks, electronic beats and a guitar.

“This time I wanted to record with the whole group, transfer the live sound to the album. The solo artist is encouraged mainly when recording songs with someone else. People who know pop and electronic music like the back of their fingers are waiting for this.”

After the experience of recording the last album, Diamandis stopped listening to anyone’s advice and made all decisions on her own, in particular, it concerned sound.

“All the artists I like, like PJ Harvey, Patti Smith, Shirley Manson or Kate Bush, have real bands. This time I wanted the same thing.”

But there is a huge difference between the ladies listed and what you can hear on “Froot”. But Marina Diamandis is a woman woven from contrasts. If it were not for comparison with the orchard, but with varieties of chocolate, then it would be dark chocolate. Diamandis sings that she has never been so happy as she is now, while sounding exceptionally melancholy. How easily these poles combine, you can see when she, beaming, gives her definition of happiness:

“Happiness is, first of all, that tremendous feeling of the realization that this moment will not last forever.”

In addition to the fruit connecting analogy, which manifests itself both in visual strategy and during releases, the singer wanted to move away from any leitmotif for the album as far as possible.

“As for the songs on Froot, there is no concept. There is no thread connecting the album in terms of lyrics. Besides what I do, people can be connected by some universal point of view. Then we would have to deal with large-scale themes: immortality, happiness, cruelty. ”

Diamandis has a lot to say on this subject, but as with any real pop album, Froot is mostly about love.

Three years ago, on the album “Electra Heart”, she wrote about the fury of those who renounced spirituality. She hit the cliche, betraying everything – from the fool with the manners of the diva to the depraved housewife. Now she has found a more interesting approach to the topic: now this is parting, and therefore “Froot” is under the sign of prudence instead of anger. Anyway, nothing was left of the extravagant bubblegum queen from 2012. “Electra Heart”, her then alter ego, shows no signs of life: it rested thanks to sleeping pills, which Diamandis had mixed in the evening before tea. At the same time, the polemic break with “Electra Heart” is combined with the transition from a typically female model of behavior to the newly discovered feminism advocated by Lina Dunham in “Girls”. But Diamandis explains:

“Love has nothing to do with feminism. Everyone wants to be loved. I, of course, too.”

And therefore, she has the right to indulge in longing for the man who cared for her.
This year, the artist turns 30 years old and with this, which is absolutely in the spirit of the series “Girls”, she has no problems.

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