Album Review: Froot by Marina and the Diamonds

2015 has been a generally safe year for pop music. Most new releases have tended toward repeats of what we’ve gotten on the charts rather extensively in the last few years, but the only record I’ve enjoyed this year thus far has been the album by Marina and the Diamonds.

Marina Diamandis first caught my attention in early 2013, when I decided to look over the most popular pop music albums released in 2012. Her sophomore release, Electra Heart, was one of those listened. My personal opinion was that the album was relatively mediocre—I’m no fan of Dr. Luke’s production skills, and the songwriting felt a bit weak. But since this year hasn’t impressed me much in terms of film, music, or literary releases, I’ve had to lower my standards for enjoyment, which is how I stumbled upon the album:

Titled Froot and released March 13, 2015, Diamandis has crafted a record that feels both catchy and accessible while also personal and introspective. This is mainly due to Diamandis abandoning the hitmakers, choosing instead to work with a single producer (in this case, David Kosten) and writing every song herself. Musically, it holds solid: the opening ballad, “Happy,” may seem like an odd choice, but the muted production and close, intimate vibe through vocals and the piano playing serves as a solid introduction to Diamandis’s songwriting and her soft, beautiful vocals. The rest of the record are ballads and more uptempo pop tracks, with some expressive melodies; some songs ("Weeds") contain excellent background harmonies. This works for me because no two songs sound exactly alike. As all were written and composed by Marina Diamandis herself, she proves to have impressive songwriting skills.

The best quality of the album are Diamandis’s lyrics—this is a record where she pours her heart out. Subjects include breakups, self-esteem, new love, and, in the final two tracks, human nature. These are obviously serious subjects, and they are handled with grace and care. Diamandis for the most part has a very gentle and sympathetic tone, never lecturing; even in the nihilistic “Savages,” where she laments humanity’s obsession with war and inequality, she paints herself just as much a part of the human race she is condemning. Lyrically this song also contains my favorite lines:

Underneath it all we’re just savages

Hidden behind shirts, ties, and marriages.

How can we expect anything at all?

We’re just animals still learning how to crawl

And:

Is a human trait or is it learned behavior?

Are you killing for yourself or killing for your savior?

Perhaps my favorite part of the album was Marina Diamandis herself. She is an excellent vocalist: her voice glides perfectly over her melodies, with perfect enunciation and tone. Her voice is expressive, giving off joy, regret, sadness, and horror. Her operatic vocals on “Savages” gave me vibes of Kate Bush. 

Taken as a whole, Froot is an accomplished release by a talented singer-songwriter who deserves more success than she’s seen thus far. I’ve never heard her debut, The Family Jewels, but perhaps I should since other critics have said that album is closer to this one. It’s not perfect—the track order feels off, while the titular track, “Froot,” and a song or two just don’t work. But what it does accomplish it does very successfully. I give this a glowing recommendation.

Favorite tracks: “I’m a Ruin,” “Forget,” “Can’t Pin Me Down,” “Weeds,” “Savages,” and “Immortal”

Score: 4/5 or 8/10

Album Review: 1000 Forms of Fear by Sia

It’s always an interesting thing in popular music when one of the main creators of the music itself, be it a producer or a songwriter, decides to become a pop star themselves. Just this year we’ve seen Pharrell Williams’s profile as a solo artist skyrocket since his surprise international hit, “Happy,” took off not too long ago. Last year, Katy Perry co-writer Bonnie McKee attempted a solo career with her single “American Girl” to mixed results. And now, this brings us to the subject at hand: Sia.

Sia has alternated between her career as an alternative/pop artist and songwriter for quite some time now, announcing her retirement after the release of her last album in 2010. Since then, Sia has returned with her latest release, titled 1000 Forms of Fear. This album came with the stipulation that she wouldn’t tour for it or do extension promotion, making it one of the more interesting releases in pop music (which has already caught the attention of people who’ve missed Sia’s point entirely). Considering the four year gap between albums, is this worth the wait?

Well, it all depends on what one expects or wants. The new album cuts back on the dance beats and 80s synths of her last album, We are Born, instead focusing on more slow songs and a more electronic focus, compared to the ever present guitar work of Strokes guitarist Nick Valensi (who makes an appearance on "Hostage.") The production is primarily done by one half of The Bird and the Bee, Greg Kurstin, who has worked with Lily Allen, Lykke Li, and Tegan and Sara most recently. His work with Sia is very similar to his work with the others—very spacious production, crisp but not too flat or overproduced. There’s an emphasis on Sia’s vocals, making everything feel very warm and intimate, which contrasts very well with the more electronic-based indie pop production. However, like his work with Lykee Li, there’s a lot of echo and reverb in the production, mainly relying on the keyboards for the melody lines, a choice that may irritate many people but did not bother me.

As a singer, Sia’s definitely an acquired taste. Her enunciation takes some getting used to and her voice, while powerful, is not particularly well trained—she goes off key or off pitch several times throughout the record. For those who prefer more subtle vocals from Sia, this is not the record for you.

The songwriting on the album is clearly the focus and it may end up being what makes or breaks the album for you. For me, this record works extremely well. The songs are written mainly about relationships or stories that are very broadly painted but still show some of the quirks that endeared Sia to people years ago. Her experience as a pop songwriter is put well to use: each song contains a strong and memorable hook, the melodies are stronger than just about anything else in pop music this year thus far, and the lyrics, while not particularly specific or personal, stand out enough to help keep Sia from sounding too much like those she produces for, helping her avoid the problem Bonnie McKee ran into. Album highlight “Big Girls Cry” contains a lovely string section, elevating the heartfelt subject matter; “Elastic Heart” features a cameo from the Weeknd, who proves to be far more compelling here than on his last album.

1000 Forms of Fear is not a perfect album. Some of the production choices don’t work, the vocals could be better executed, and not all the lyrics are clever. But considering how compelling the songs can be at their best, it’s hard to think of a more thought-provoking, catchy, and gripping release in pop this year.

Score: 4/5