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The persona peels back even further on the utterly devastating “Lies,” co-produced by Diplo, Cirkut and Dr. Set against a pulverizing series of weird, winding gritty beats—reminiscent of Britney’s ex-sexin’ anthem, “Inside Out”—Marina waves a white flag: “You’re never gonna love me, so what’s the use? It’s all shades of perfection, although the acoustic version of the song released weeks earlier already proved that–even stripped of the brilliant electronic production by the talented producers–the song is one of the best tracks Marina’s penned, ever.

Apart from heartbreak however, the record also seems to find its fascinations in exploring issues of power and identity.

“If women were religiously recognized sexually, we wouldn’t have to feel the need to show our assets to feel free,” she declares in the next.

Feminist theory set against a surging, foot tap-friendly beat? As the album slows to a contemplative finish, you start to wonder if this is Electra Heart’s tragically tormented inner dialogue or just Marina’s own self-consciousness. On “Teen Idle”—yet another one of the album’s shining highlights—Electra’s (or Marina’s?

) about growing up in the digital age of fame and instant celebrity. Funnily enough, both share in an obsession with the glamour of vintage American life–possibly as a by-product of the two having a producer in common (Nowels).

Yet whereas Lana uses Americana to evoke a certain nostalgia in her music, Marina takes classic American culture and molds it into much more biting, frank and cynical.

Looking over the liner notes for this record, it’s easy to see that is a major powerhouse production–Dr.

Luke, Diplo, Cirkut and Greg Kurstin are just some of the names involved–which has led many indie purists and/or music snobs to brand Marina a “sell out.” After all, here’s an artist who spent a good chunk of her first record working with indie-pop producers like Liam Howe, now stepping into the booth with the same producers who help shape radio smashes for Britney Spears, Rihanna and Katy Perry. But for those willing to look beyond the star-studded names and actually pay attention to the lyricism and songcraft found on Electra Heart, it’s obvious that Marina Diamandis is written all over her second studio album–an even stronger, more cohesive set than its predecessor.

Inspired visually by the camp of , as well as by ponderings about the new, instant mini-celebrity age of Tumblr, Marina began posing in ‘60’s retro couture—as a suburban housewife, an idle teen, a homewrecker, a beauty queen (all lovingly referred to as “The Archetypes”)–to personify the spirit of heartbreak threaded throughout her upcoming effort.

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