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7.0
111017
7.0 |
The Line Of Best Fit
Marina shoots for stripped-bare big pop, and for the most part, she achieves it, but various clichéd lyrics occasionally stop her sincerity in its tracks
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7.0
111034
7.0 |
Clash
When Marina is playing to her strengths, there’s no stopping her. But as ‘Love + Fear’ is split between two primary emotions, at times it does appear disjointed and confused
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6.0
111029
6.0 |
The Independent
Throughout both parts of the record, there’s a detachment to Marina’s vocal that implies an alien being who’s trying to figure out humanity
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6.0
111030
6.0 |
The Irish Times
There’s a poison pen snarl to these songs
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6.0
111032
6.0 |
NME
An album of two halves, this is a singular record from a bold talent. It doesn't always land perfectly, but Marina's ingenuity can't be denied
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6.0
111405
6.0 |
musicOMH
As ever with Diamandis, there’s some decent pop music here, but it seems like we’re still waiting for her to produce that genuine killer album, Diamonds or no Diamonds
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5.4
111015
5.4 |
Pitchfork
Marina Diamandis’ first album since shedding her “Marina and the Diamonds” identity slides from affecting poetry to cold calculation
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4.0
111116
4.0 |
God Is In The TV
The lightweight playlist-pleasing pop of these songs blends into the background and sounds boring, something she always avoided
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4.0
111151
4.0 |
Spectrum Culture
The latest from Marina Diamandis sees her shedding bits of her past, a cause for both concern and a tiny bit of celebration
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4.0
111214
4.0 |
Q
It seldom transcends pop's usual concerns. Print edition only
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