www.ambiente.us JUNE | JUNIO 2010
New Music | Marina & the Diamonds
Pop is cooler than it has ever been. No revelations there. Somewhat ironic perhaps
though that the jewel in this new crown of credibility gut-laughs in the face of any notion
of 'cool'. Marina (And The Diamonds) Diamandis is living, breathing, belting, vogue-ing
proof of the unfathomable possibilities contained within organic pop in 2010. "I really
couldn't give a damn whether pop's in fashion this week or not, I'd be writing the same
music, regardless" she scoffs.
She's the complete songwriter/performer. 50% Greek, 50% Welsh, 100% frolicking
fairytale creature. A girl with virtually no musical schooling, for whom heart scorching
choruses miraculously seem to appear at the tips of her fingers with each
preposterous limb fling. A voice that both lures sailors to shores and wards ships from
rocks. A mind that hacks apart the fabric of Now and serves it up in an ice-cream
sundae for all to guzzle down. A performer whose onstage movement has been
reminding lackluster gig-goers across the land the true meaning of 'show time'. But
like all the best popstars, dissecting their charms does them no justice. For Marina
possesses that oh-so elusive ingredient. The one that had its name not been forsaken
by reality television’s chart napalm strike, we might dare term something like 'x-factor'.
Some of the greatest should-be British smash hits this side of the Millennium aside,
Marina just has it. The presence, the poise, the patter. A sonic boom of a laugh that
seemingly punctuates her every sentence. She's five foot five of hourglass sensation in
waiting, and this is her year.
Marina moved a total of seventeen times before she turned eighteen. Between her
birthplace of Abergavenny in rural Wales, London and later her father's traditional family
home in Greece. She found herself torn between staunch
New Music | Marina & the Diamonds
Pop is cooler than it has ever been. No revelations there. Somewhat ironic perhaps
though that the jewel in this new crown of credibility gut-laughs in the face of any notion
of 'cool'. Marina (And The Diamonds) Diamandis is living, breathing, belting, vogue-ing
proof of the unfathomable possibilities contained within organic pop in 2010. "I really
couldn't give a damn whether pop's in fashion this week or not, I'd be writing the same
music, regardless" she scoffs.
She's the complete songwriter/performer. 50% Greek, 50% Welsh, 100% frolicking
fairytale creature. A girl with virtually no musical schooling, for whom heart scorching
choruses miraculously seem to appear at the tips of her fingers with each
preposterous limb fling. A voice that both lures sailors to shores and wards ships from
rocks. A mind that hacks apart the fabric of Now and serves it up in an ice-cream
sundae for all to guzzle down. A performer whose onstage movement has been
reminding lackluster gig-goers across the land the true meaning of 'show time'. But
like all the best popstars, dissecting their charms does them no justice. For Marina
possesses that oh-so elusive ingredient. The one that had its name not been forsaken
by reality television’s chart napalm strike, we might dare term something like 'x-factor'.
Some of the greatest should-be British smash hits this side of the Millennium aside,
Marina just has it. The presence, the poise, the patter. A sonic boom of a laugh that
seemingly punctuates her every sentence. She's five foot five of hourglass sensation in
waiting, and this is her year.
Marina moved a total of seventeen times before she turned eighteen. Between her
birthplace of Abergavenny in rural Wales, London and later her father's traditional family
home in Greece. She found herself torn between staunch
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there are just not enough songs." Whilst Marina never learned any instrument until
she taught herself piano aged-19, eight years of dance lessons and a stint at an
American ex-pat school in Greece provided a grounding that gave her a mastery of
rhythm, both on record and in her trademark choreography. It also birthed a fixation
with Americanization and all that comes with. "I came of age as Britney did," she
recalls. "It was an amazing time to fall in love with pop. She was my favorite. But I
guess it was a time that leaves you with a lot of questions about pop culture for
female artists." And therein lies Marina's ongoing quandry: an unstoppable passion
for ridiculous supersized chart-fodder but a cultural yearning for something more.
The start of Marina's 'career' was a peculiar one. "I never even really knew what a
chorus was until I went into the studio with a producer," she states, "I would just
create a lift in mood when the time felt right or the story had been told"..." My writing
had all been either instinctual or accidental up until then." After the standard couple of
years sat round the house in her pants recording demos on her laptop, rattling out a
series of would-be hits on her tod, it was time to talk to labels. But whereas most
artists possessing their marbles would do so with what's known in the industry as 'a
manager', Marina refused. After a string of meetings with increasingly bemused men
in suits -either wanting to mould her through their 'big, bad machine' or refusing flatly
to talk business directly to her, she inked a deal with Warner through 679. There she
was allowed the freedom to become the star that she wanted to be.
As tends to be the way with those that radiate talent from their every pore, special
people want to be around them. Before long the best producers, directors and
co-writers in the UK were knocking, not to mention perhaps the most heralded indie
imprint on earth, Neon Gold, who prefaced her album with
she taught herself piano aged-19, eight years of dance lessons and a stint at an
American ex-pat school in Greece provided a grounding that gave her a mastery of
rhythm, both on record and in her trademark choreography. It also birthed a fixation
with Americanization and all that comes with. "I came of age as Britney did," she
recalls. "It was an amazing time to fall in love with pop. She was my favorite. But I
guess it was a time that leaves you with a lot of questions about pop culture for
female artists." And therein lies Marina's ongoing quandry: an unstoppable passion
for ridiculous supersized chart-fodder but a cultural yearning for something more.
The start of Marina's 'career' was a peculiar one. "I never even really knew what a
chorus was until I went into the studio with a producer," she states, "I would just
create a lift in mood when the time felt right or the story had been told"..." My writing
had all been either instinctual or accidental up until then." After the standard couple of
years sat round the house in her pants recording demos on her laptop, rattling out a
series of would-be hits on her tod, it was time to talk to labels. But whereas most
artists possessing their marbles would do so with what's known in the industry as 'a
manager', Marina refused. After a string of meetings with increasingly bemused men
in suits -either wanting to mould her through their 'big, bad machine' or refusing flatly
to talk business directly to her, she inked a deal with Warner through 679. There she
was allowed the freedom to become the star that she wanted to be.
As tends to be the way with those that radiate talent from their every pore, special
people want to be around them. Before long the best producers, directors and
co-writers in the UK were knocking, not to mention perhaps the most heralded indie
imprint on earth, Neon Gold, who prefaced her album with
earthy ideals of her dad's family
and the brain-microwaving
effect of generation-Y culture.
"Sometimes I feel like a perfect
poster child for this generation.
We know nothing," she laughs.
"Nothing about politics or the
real world. I have ADD, I can't
concentrate on anything. It's
awful; it's a horrible way to be.
But this realization has fueled
many of my songs." It's this
self-deprecating critique and
brutal honesty that forges
Marina's distinct brand of
post-modern pop sheen. Whilst
her refrains nod to a
deep-seated passion for hook
sculpting, she insists that her
choice of medium was born
from a 24-year itch. "I think
nearly all of what I do musically
is powered by an agenda. I
want to convey so much
sometimes it feels like
and the brain-microwaving
effect of generation-Y culture.
"Sometimes I feel like a perfect
poster child for this generation.
We know nothing," she laughs.
"Nothing about politics or the
real world. I have ADD, I can't
concentrate on anything. It's
awful; it's a horrible way to be.
But this realization has fueled
many of my songs." It's this
self-deprecating critique and
brutal honesty that forges
Marina's distinct brand of
post-modern pop sheen. Whilst
her refrains nod to a
deep-seated passion for hook
sculpting, she insists that her
choice of medium was born
from a 24-year itch. "I think
nearly all of what I do musically
is powered by an agenda. I
want to convey so much
sometimes it feels like
just create a lift in mood when the time felt right or the story had been told"..." My
writing had all been either instinctual or accidental up until then." After the standard
couple of years sat round the house in her pants recording demos on her laptop,
rattling out a series of would-be hits on her tod, it was time to talk to labels. But
whereas most artists possessing their marbles would do so with what's known in the
industry as 'a manager', Marina refused. After a string of meetings with increasingly
bemused men in suits -either wanting to mould her through their 'big, bad machine'
or refusing flatly to talk business directly to her, she inked a deal with Warner through
679. There she was allowed the freedom to become the star that she wanted to be.
As tends to be the way with those that radiate talent from their
every pore, special people want to be around them. Before long
the best producers, directors and co-writers in the UK were
knocking, not to mention perhaps the most heralded indie
imprint on earth, Neon Gold, who prefaced her album with a
series of EPs and singles. In 2009, the blueprint for her debut,
'The Family Jewels' slowly came together. She refined gleaming
new incarnations of her original bedroom compositions.
'Are You Satisfied?' commences proceedings with Marina's trademark tidal-wave
refrains and nattering narrative verses. 'Shampain's a romping, pulsing monster-hit-
to-be, with one of Marina's most soaring choruses to date. Sleeping giant 'I Am Not A
Robot', with a stunning promo video courtesy of Number One fan, Rankin, stands as
arguably her most accomplished moment: bold, beautiful and pertinently true. The
introduction of Pascal Gabriel (Ladyhawke) yielded 'Girls', a stonking slab of
irrepressible hook-lines, showcasing a heritage of glowing Greek melodies,
unabashedly immediate songwriting and clever punch lines. "It's a call for women to
stop being their own enemies,” she says. "These days you're either a nun or a whore,
to be both and neither, all in one. I want to help redefine women's place in society".
writing had all been either instinctual or accidental up until then." After the standard
couple of years sat round the house in her pants recording demos on her laptop,
rattling out a series of would-be hits on her tod, it was time to talk to labels. But
whereas most artists possessing their marbles would do so with what's known in the
industry as 'a manager', Marina refused. After a string of meetings with increasingly
bemused men in suits -either wanting to mould her through their 'big, bad machine'
or refusing flatly to talk business directly to her, she inked a deal with Warner through
679. There she was allowed the freedom to become the star that she wanted to be.
As tends to be the way with those that radiate talent from their
every pore, special people want to be around them. Before long
the best producers, directors and co-writers in the UK were
knocking, not to mention perhaps the most heralded indie
imprint on earth, Neon Gold, who prefaced her album with a
series of EPs and singles. In 2009, the blueprint for her debut,
'The Family Jewels' slowly came together. She refined gleaming
new incarnations of her original bedroom compositions.
'Are You Satisfied?' commences proceedings with Marina's trademark tidal-wave
refrains and nattering narrative verses. 'Shampain's a romping, pulsing monster-hit-
to-be, with one of Marina's most soaring choruses to date. Sleeping giant 'I Am Not A
Robot', with a stunning promo video courtesy of Number One fan, Rankin, stands as
arguably her most accomplished moment: bold, beautiful and pertinently true. The
introduction of Pascal Gabriel (Ladyhawke) yielded 'Girls', a stonking slab of
irrepressible hook-lines, showcasing a heritage of glowing Greek melodies,
unabashedly immediate songwriting and clever punch lines. "It's a call for women to
stop being their own enemies,” she says. "These days you're either a nun or a whore,
to be both and neither, all in one. I want to help redefine women's place in society".
| . |
| . |
there are just not enough songs." Whilst Marina never learned any instrument until
she taught herself piano aged-19, eight years of dance lessons and a stint at an
American ex-pat school in Greece provided a grounding that gave her a mastery of
rhythm, both on record and in her trademark choreography. It also birthed a fixation
with Americanization and all that comes with. "I came of age as Britney did," she
recalls. "It was an amazing time to fall in love with pop. She was my favorite. But I
guess it was a time that leaves you with a lot of questions about pop culture for
female artists." And therein lies Marina's ongoing quandry: an unstoppable passion
for ridiculous supersized chart-fodder but a cultural yearning for something more.
The start of Marina's 'career' was a peculiar one. "I never even really knew what a
chorus was until I went into the studio with a producer," she states, "I would
she taught herself piano aged-19, eight years of dance lessons and a stint at an
American ex-pat school in Greece provided a grounding that gave her a mastery of
rhythm, both on record and in her trademark choreography. It also birthed a fixation
with Americanization and all that comes with. "I came of age as Britney did," she
recalls. "It was an amazing time to fall in love with pop. She was my favorite. But I
guess it was a time that leaves you with a lot of questions about pop culture for
female artists." And therein lies Marina's ongoing quandry: an unstoppable passion
for ridiculous supersized chart-fodder but a cultural yearning for something more.
The start of Marina's 'career' was a peculiar one. "I never even really knew what a
chorus was until I went into the studio with a producer," she states, "I would
Out in the Tropics Festival June 7-11, 2010 |
Marina proved as
endeared within the
indie fraternity as the
mainstream,
showcased in bonkers,
thunderous anti-music
mogul cavalcade
'Mowgli's Road' and a
surge of raptured
attention from NME
including a coveted
prime spot upon its
Radar tour. ''Obsessions', an early plaintive piano ballad of epic serenity and
beleaguered lust was eventually taken to the next level by key collaborator Liam
Howe. It was duly released on Valentines Day. 'Hollywood', the culmination of a
lifelong love/hate fixation with US trash culture was produced by none other than
Spice Girls hit- maker Biff Stannard, unearthing an earth-shattering charge of rolling
classic pop. The hit parade awaits. 'The Outsider is defiant and infectious with a
serious beat whilst 'Hermit The Frog' showcases Marina's penchant for billowing Kate
Bush-style hooks. 'Rootless' is collision of icicle notes and galloping rhythms. 'Numb'
could be the swooning, yearning accompaniment to the closing moments of a
lovelorn masquerade ball. Before 'Guilty' whisks you off in a maelstrom of off-kilter
melodies, panic and resolve before your heart has had a chance to catch up with
itself, leaving you instantly pining for more.
The final track to complete the album is the soon to be smash "Oh No!." Written on a
trip to LA a week after The Family Jewels was mastered, the song encompasses all
of Marina’s fears and aspirations for the future. “The song was written in response to
be terrified of not achieving what I say I want to achieve every time I open my big
mouth. It's my part ii to Mowgli's Road. I was paralyzed by fear before my trip to the
states and couldn't stop thinking about being a failure "etc" and was convinced that I'd
become a self-fulfilling prophecy if my
endeared within the
indie fraternity as the
mainstream,
showcased in bonkers,
thunderous anti-music
mogul cavalcade
'Mowgli's Road' and a
surge of raptured
attention from NME
including a coveted
prime spot upon its
Radar tour. ''Obsessions', an early plaintive piano ballad of epic serenity and
beleaguered lust was eventually taken to the next level by key collaborator Liam
Howe. It was duly released on Valentines Day. 'Hollywood', the culmination of a
lifelong love/hate fixation with US trash culture was produced by none other than
Spice Girls hit- maker Biff Stannard, unearthing an earth-shattering charge of rolling
classic pop. The hit parade awaits. 'The Outsider is defiant and infectious with a
serious beat whilst 'Hermit The Frog' showcases Marina's penchant for billowing Kate
Bush-style hooks. 'Rootless' is collision of icicle notes and galloping rhythms. 'Numb'
could be the swooning, yearning accompaniment to the closing moments of a
lovelorn masquerade ball. Before 'Guilty' whisks you off in a maelstrom of off-kilter
melodies, panic and resolve before your heart has had a chance to catch up with
itself, leaving you instantly pining for more.
The final track to complete the album is the soon to be smash "Oh No!." Written on a
trip to LA a week after The Family Jewels was mastered, the song encompasses all
of Marina’s fears and aspirations for the future. “The song was written in response to
be terrified of not achieving what I say I want to achieve every time I open my big
mouth. It's my part ii to Mowgli's Road. I was paralyzed by fear before my trip to the
states and couldn't stop thinking about being a failure "etc" and was convinced that I'd
become a self-fulfilling prophecy if my
| . |
brain didn't shut up and stop being so negative. So I put it in a song. Mowgli's
questioned who I want to be, "Oh No!" confirms it. It made me feel confident
again after a shaky 6 months. Life is just a barrel of laughs at end of day,
anyway!”
"It comes down to a desire to want to connect with people on a personal level. I
like making people feel better about themselves and to remind them that
they're not alone" she ponders of her first long-player. "For me, it's a catharsis.
I guess they're all just indulgent letters to myself, but for the eyes of anyone
who feels like looking, of course."
www.myspace.com/marinaandthediamonds
www.marinaandthediamonds.com
Release date: Marina & The Diamonds “The Family Jewels”
(Chop Shop Records/Atlantic) available May 25, 2010
For further information:
Martha Tang * Fly-Life Inc * Tel: 917.606.0155*
E-mail: martha@flylifeinc.com
Copyright © AMBIENTE MAGAZINE. Do not reproduce without citing this source
questioned who I want to be, "Oh No!" confirms it. It made me feel confident
again after a shaky 6 months. Life is just a barrel of laughs at end of day,
anyway!”
"It comes down to a desire to want to connect with people on a personal level. I
like making people feel better about themselves and to remind them that
they're not alone" she ponders of her first long-player. "For me, it's a catharsis.
I guess they're all just indulgent letters to myself, but for the eyes of anyone
who feels like looking, of course."
www.myspace.com/marinaandthediamonds
www.marinaandthediamonds.com
Release date: Marina & The Diamonds “The Family Jewels”
(Chop Shop Records/Atlantic) available May 25, 2010
For further information:
Martha Tang * Fly-Life Inc * Tel: 917.606.0155*
E-mail: martha@flylifeinc.com
Copyright © AMBIENTE MAGAZINE. Do not reproduce without citing this source
| . |
Out in the Tropics Festival June 7-11, 2010 |
