'Electra Heart' - 2012's Kitschy Bubblegum Anthem

 

I generated my own hype for Electra Heart. I didn't watch interviews. I didn't hear what producers had to say about the work. I just listened to the tracks that were officially released by Marina herself and assumed that the album would be as magnificent as the buzz singles.

Was I right? Well, that's hard to say. When you sit down and listen to the album for the third and fourth time, you start to understand that Electra Heart is actually a person. Yes, this is a concept album, like I Am...Sasha Fierce, where Marina has taken on an alter ego and given us a handful of songs that represent this left turn she's taken since the Family Jewels days. Each persona is described mostly in title, the Primadonna, the Homewrecker, the Starring Role, etc. It's a daring concept, really, because over-sexualized alter egos and Sybil Dorsett theme multiple personality disorders are cool right now in the music industry. They have been for the past 4 years or so. 

So how does Marina stand out from this flux of divas with fad-induced alter egos? With Quality. History seems to repeat itself with the concept albums. Beyoncé and Nicki Minaj both took massive quality decreases with their pop-crossover concept albums, but Marina sort of capitalizes on what she started with Family Jewels. The album is still an ode to theatrical lyrics and dramatic vocal overtones and belted vocal acrobatics, much like the first.

My only complaint about this album, which I feel like I should put out here immediately, is watered down album intro, "Bubblegum Bitch" and the blatantly regurgitated "Hold It Against Me" guitar session "Primadonna." The first of the two being the biggest disappointment of the album, it almost sounds like it's purposefully generic and poking fun of the desperation seen in some pop stars who completely change their image to heighten their success.

The album immediately picks up with "Lies" which was crafted by Diplo, Dr. Luke & Cirkut like fucking surgeons and co-penned by Marina in a emotionally devastating tale of a faltering relationship. Similarly, "Starring Role" is another fantastically produces song, this time by the genius Greg Kurstin, probably a stand out for it being the most over-simplified pop track that allows for said simplicity to really intensify the somewhat empowering lyrics. Still, both tracks pale in comparison to the album's most odd and haunting track, "Teen Idle," which has a Regina Spektor quality of appearing to being a somber track, but really sucks you in when you catch hold of the lyrics.

The albums greatest feat is "Homewrecker," where producer Rick Nowels makes a complete 180 from the dragging opener. This song digs deep into one message most wouldn't dare to sing about. Not giving a shit about anyone else's emotions and living for yourself in a world where everyone else is just as (unadmittedly) selfish.

The remainder of the album is catchy enough to pass off a awesome filler, like "Living Dead" and "Power & Control," while others like "Valley of the Dolls" is skippable. 

So to answer my question, yes... I do think I'm quite satisfied with the turn out. There are a few tracks I won't bother with, but the majority is solid. This is easily the one of the better pop albums of 2012, besting Madonna's and Nicki Minaj's efforts. It earned every bit of a 7 out of 10 rating.

You can stream the album right here on the blog before you buy it on Amazon. Sorry, if you live in the US, you gotta wait until summer to buy it!