Marina and the Diamonds: 'The Family Jewels'

“I know exactly who I want and who I want to be” shrieks Marina Lambrini Diamandis on ‘Oh No!’, a song from her highly anticipated debut ‘The Family Jewels’. Her intention though appears to be the antithesis of what this part-Welsh-part-Greek newcomer has produced. Marina has certainly come along at the right time given last year’s surge of quasi-synth female singer-songwriters who made an impact in 2009; such as Little Boots, La Roux, and fellow newcomer Ellie Goulding. However, it is Florence and the Machine to whom most comparisons should be firmly drawn.

As with Florence Welch, Marina shares a unique name, adopted a band which doesn’t formally exist, is hotly tipped in their respective year of release and possess a fondness for eclecticism in their music. Yet where Florence generally succeeded, Marina fails to pull of the same impressive feat.

Marina has been compared to a whole array of artists both past and present including; Pink, Gwen Stefani, Regina Spektor, Tori Amos, Kate Nash, Sparks, and Siouxsie Soux to name just a few. The reason for such comparisons is that ‘The Family Jewels’ reads like am all-encompassing roller-coaster ride. There are flourishes of Ska, piano ballads, electro-pop, and power disco all set to a predominately upbeat feel. Yet the result is that it’s so in-your-face that is becomes exhausting just listening to this album. It should come with a health warning attached cautioning mandatory breaks in-between songs for fear of serious detrimental effects to one’s health.

Many of these tracks, ‘Shampain’, ‘Hollywood’, and ‘Are you satisfied?’ for example, prove that Marina can write a fairly decent pop song but they are produced to within an inch of their lives that it becomes overbearing. She just tries too hard and there are far too many ideas going on. The electro hooks and choruses literally bombard you. She doesn’t so much just throw everything including the kitchen sink at you; she includes next doors conservatory and loft conversion for good measure!

All this before we even turn to the vocals. Another comparison Marina has been associated with is Kate Bush for her eccentric vocal play. The reality is that Marina is not even close to the living genius Bush is. Marina employs a whole range of vocal styles (and I use that term loosely) such as vibrato, animal noises, shrieks, mimicking robots, and, worst of all, terrible overkill of enunciating every other syllable that she sings. Oh, I nearly forgot the screaming profanities as well. The whole affair is just simply annoying for the most part.

It’s also frustrating. The over production and inane vocal gymnastics mask some genuinely good songs. When the pace is slowed down and it’s just Marina and the piano her real talent shines through, such as ‘Obsessions’ and ‘I’m not a Robot’. Additionally she certainly has the charisma to become successful although constant references to her future success in her debut release certainly scream a large ego.

There is certainly potential here, a diamond in the rough at the moment if you will. The whole album is far too ambitious and lacks coherence. Her next release should be toned down and more focused. The biggest irony of all is that in her attempt to be different from anyone else she has made a massively commercial pop album.