#marina lambrini

[lustforlarina]

[calebsrottingcorpse]

He’s a homewrecker (reference under the cut)

[miss-maam-ava]

Marina and the Diamonds is just female Lemon Demon

[emmamason2020-blog]

I have been listening to this album so much.

I love her music and what she stands for.

SONGS THAT CARRIED ME THROUGH 2021 (31/60)

MARINA - Venus Fly Trap

[nightcolorz]

i don’t think i’ll ever be done talking about armand songs but for now i only have one left that i need to talk about and that is how much of a loumand song “Starring Role” by Marina is

like first of all “You’re hard to hug, tough to talk to, and I never fall asleep, when you’re in my bed, all you give me is a heartbeat” is so very Dubai loumand and in particular the scene of them alone in their bedroom and how detached it felt, the chaste kiss, Armand’s longing, pleading looks. He’s getting nothing from this.

Then, “I’ve turned into a statue, and it makes me feel depressed, cause the only time you open up in when we get undressed” is both very Armand-as-Rashid with the feeling that he is less of a person and more a servant in the eyes of both Louis and Daniel, and is upset by it. The getting undressed part is interesting because it’s both carrying on from this servant act, fitting in regards to Daniel’s “rent boy” comment, he’s not really a person unless he’s having sex with someone (which oh my god just SO Armand) but ALSO his relationship with Louis outside of the Rashid act- he doesn’t feel like their relationship is anything more than a sexual relationship anyway.

Leading into “You don’t love me, big fucking deal, I’ll never tell you how I feel, You don’t love me, Not a big deal, I’ll never tell you how I feel” Louis doesn’t love him. Not since before the trial at least, its all for spite. He wants Lestat, Armand knows this, and knows he’s only with him for misplaced spite. (“It almost feels like a joke to play a part, when you are not the starring role in someone else’s heart”) But I feel like Armand staying is proof that he does love Louis, even in a twisted way. He can accept it being unreciprocated as long as he has safety and security, even if he’s miserable and will never tell Louis how he feels.

The lines “You know I’d rather walk alone, than play a supporting role, if I can’t get the starring role” I think are an oddly brilliant summary of why Armand chooses to betray Louis in Paris even if it means his death. Armand’s insecurities mean he would rather be alone and self-sabotage than be with someone that he loves that he knows would sideline him for the ghost of his ex (who is also HIS ex)

“Sometimes I ignore you, So I feel in control, Cause really I adore you and I can’t leave you alone” is very reminiscent of Armand’s emotional abuse of Louis to get what he wants (again stemming from a deep insecurity and desperation to not be alone) He can’t be without Louis, so he makes him dependant on him in several ways, then emotionally withdraws for the control it brings.

“You’re like my dad, you’d get on well, I send my best regards from Hell” is a final nail in the coffin, Armand projecting his relationship with Marius onto Louis due to his need to be in that dynamic because its all he knows and recognises as love, even if its self-destructive. Louis goes along with it far too easily, which I think triggers Armand a lot more than he consciously realises. This behaviour is deeply hurting him but he can’t realise or understand why, but has a resentment for Louis come with it even if he loves him and wants him to do it. The mention of Hell is interesting as well, with the connotations. Armand putting himself in Hell as if he was a demon, even though his “father” always called him and angel, heavenly.

“I never sang for love, I never had a heart to mend, Because before the start began, I always saw the end, Yeah, I wait for you to open up, to give yourself to me, But nothing's ever gonna give, I'll never set you free, Yeah, I'll never set you free” This entire bridge just sums up their dynamic terribly well I fear. Armand’s eternal brokenhearted-ness, his “half blank half apocalyptic” looks, doomed from the start, wishing for Louis to be the one to be with him and save him, though not letting him go even if he knows those goals are unachievable.

Marina Lambrini Diamandis somehow you wrote the PERFECT loumand song in 2012 Godbless.

WOOOOOOOOWWW THIS IS PERFECT OMG!!!! This made me stim lol, I love Mariana sm and this is amazing analysis, AHHH YESSSS!!!! Adding to my Armand playlist ASAP. The youd get on well with my dad lyrics goes CRAZY in this context ur mind is incredible.

(Since we r on the subject lol hermit the frog by Mariana is very Amadeo era Armand to me hehe)

[galactic-valou]

🍂 HAPPY AUTUMN 🍄 Obviously her. Even if it's more the first lego batman game than the cartoons that made me rediscover her and love her for her abilities and her look. 🎵"Why be a wallflower when you can be a Venus fly trap?"🎶 Marina Lambrini Diamandis

[ssecretwrld]

older female face claims !

jang heize. 1991. south korean

in nana. 1991. south korean

wang feifei. 1987. chinese

victoria monét. 1993. african american

marina lambrini diamandis. 1985. welsh-greek

rina sawayama. 1990. japanese-british

moon hyuna. 1987. south korean

ari lennox. 1991. african american

megan fox. 1986. american

kim eugene. 1981. south korean

youngest: victoria monét (1993) oldest : kim eugene (1981)

from left to right, in order of list:

[le-pleurnichard]

I pledge allegiance to women and the gays. - Marina Lambrini Diamandis

[wendig1rl]

Here is my list of problematic women I will defend with my life

Courtney Love

Grimes / Claire Boucher

Amber Heard

Mia Goth

Snejana Onopka

Alice Glass / Margaret Osborne

Angelina Jolie

Lana Del Rey / Elizabeth Grant

Marina Lambrini

Elon musk/claire bouchers' daughter (Vivian)

Kate moss

Judy Garland

Marilyn Monroe

[mariacallous]

In Marina Lambrini Diamandis' oft-cited comeback interview with Popjustice last August, she introduced the concept that would lead into her second album: that of Electra Heart, a kind of not-quite-alter-ego/character/affectation/cinematic simulacrum that would feed into the follow-up to her 2010 debut LP as Marina and the Diamonds, The Family Jewels. Representing Greek tragedy, the "loss and failure" side of the American Dream, a daddy complex, and the vacuity apparently lingering inside us all, over six months prior to the eventual release of the LP there was very much a feeling of Marina over-complicating the whole affair: trying to dress up the high-gloss record that she had made with Katy Perry's collaborators (seemingly at the behest of her major label) in layers of philosophy, mythology, artifice, and blonde wigs. (There's a babyish song here called "Hypocrates", misspelled for seemingly no good reason, and with no reference to the philosopher in the song.) It must have stung like billy-o when Lana Del Rey came along and executed precisely what Marina was aiming for, hardly having to open her much-discussed mouth in order to explain herself whilst Marina tied herself in conceptual knots. In short, Electra Heart bears no profound relationship to Greek mythology or philosophical thought beyond exploring situations of basic human pathos (or lack thereof), but its rare affecting moments are heavy with tragedy.

The Family Jewels was disliked by many for its vaudevillian Sparks-like gaucheness, Marina's self-aggrandizement and cock-a-hoop vocal (though there's no doubting the chops of a song like "Hollywood"). But there was a sense of personality to the music as well as Diamandis' deep, hiccupy voice, and a promising sense of audaciousness that's been all but lost here. Working with Dr. Luke, Stargate, Greg Kurstin, and Liam Howe, the songs on Electra Heart fall into three basic categories: the bland, swampy banger (sub-category: "Lies"' Skrillex-lite), a regal, electronic strut falling somewhere between Depeche Mode at their poppiest and the Doctor Who theme tune, and very cloying, nursery rhyme music-box ballads. The campy ding-dong of "The State of Dreaming" is as close as Electra Heart gets to fun, with huge church bells whooshing from side to side in the mix like a pantomime dame testing the trajectory of her ball gown skirts. Relegating great early single "Radioactive" to the bonus tracks on the deluxe version of the LP is nearly as daft as some of the waffle that Marina comes out with here.

Marina really, really wants you to know that she's into pop culture, though the lazy, meaningless strings of references that comprise a good chunk of the songs here aren't any kind of postmodern comment on the Tumblr-ification of society, but just plain bad songwriting. The bombardment of archetypes and clichés is exhausting: "Beauty queen of a silver screen" persuading someone to buy her "a big diamond ring" on "Primadonna"; the titular "Homewrecker" (where excruciatingly bad spoken word verses clash against a pretty triumphant chorus) whose "life is a mess, but I'm still looking pretty in this dress." "Teen Idle" is just horrible, a glitchy ballad that sounds as though it was recorded in a church, where she wishes to be a "virgin pure/ A 21st century whore," "a prom queen fighting for the title/ instead of being 16 and burning up a bible/ feeling super super super suicidal," a chorus of Marinas echoing "super." She wishes for "blood, guts, and angel cake" because "I'm gonna puke it anyway," a weird preoccupation of hers that also crops up in "Homewrecker" ("girls and their cosmic gourmet vomit"), continued from "Girls" on her debut. But as for ending the ego, Marina does seem obsessed with ideas of finality and death-- knowing "where I will belong/ When they blow me out" on the quavering, celestial "Fear and Loathing"-- seemingly finding solace in the reliability of microcosmic, compact celebrity tragedies, perhaps in the face of the parts of this album that ring desperately true.

"You only ever touch me in the dark/ Only if we're drinking can you see my spark," she sings on "Lies". "The only time you open up is when we get undressed," she laments on "Starring Role", which glimmers like clashing porcelain before a stuttering, empowering chorus where she refuses to be a supporting cast member in an alluded-to love triangle. "Doesn't mean that I am weak," she asserts on "Power & Control", repeating, "I am weak, I am weak, I am weak" in an increasingly ephemeral voice. "Every day I feel the same/ Stuck, and I can never change/ Sucked into a black balloon/ Spat into an empty room" goes "Living Dead", a snappy, taut Soft Cell-like number. It feels like shaky ground to say that these vulnerable moments are Electra Heart's finest, catchiest, and hardest-hitting songs, Marina's soaring vocals packing some genuine emotion, picking up on themes of self-loathing that don't need blasé allusions to bulimia in order to indicate emotional emptiness; where the often transcendent states of sex and alcohol collaborate for profoundly dispiriting experiences. Her honesty, at least, is empowering. Whilst there's no getting past some of the duller and more unbearable material on this record, it's a real shame that it's come hamstrung in this unnecessary concept, ready for people to laugh when Marina fails to pull it off. If she'd made a record full of songs as unaffected as these four, Electra Heart could be one of the year's most acclaimed pop albums. Let's hope there's a next time.

[pendragora]

I hope that Marina Lambrini Diamandis (MARINA, ex. Marina and the Diamonds) has a wonderful day and a wonderful rest of her life because once again I find myself listening to her voice in the time of need, and for that I am eternally grateful

[principiumindividuationis777]

Top Five Recent Musical Performers (or Groups)

(1) Taylor Cameron Upsahl, mononymously, Upsahl. I can't say enough good things about her: As a person, she is smart, brave and hard-working. As a musical artist, she is soulful, technologically adept, a fine singer, emotionally deep yet capable of great humor and irony.

Upsahl is multi-instrumental, a true genius, and she has bigger "basketballs", metaphorically speaking, than anyone else on the music scene today.

(2) Billie Eilish Pirate Baird O'Connell, better known simply as Billie Eilish, is only going to get better and better. She understood more about music at fifteen than most professional musicians could at fifty.

Her versatility, from haunting ballads to dance-pop, is her greatest strength, and so we don't know what her next project will be, only that it will be very good.

(3) Marina Lambrini Diamandis, often known as Marina, is so lyrically clever that her songs have created entire subcultures. "Teen Idle" is on any honest, knowledgeable person's list of greatest songs ever, lyrically.

Diamandis's songs can be hauntingly sad, or dripping with hilarious irony.

(4) Silversun Pickups are a throwback at least to the 1990's, and maybe even to the singer-songwriter scene of the seventies.

They are just good, smart folk music, and authentic artists.

(5) Starcrawler... there is not a lot of real punk rock out there anymore, but Starcrawler is as real as it gets, and will inspire you to look to the history of the subgenre.

[mythren-system]

I love you Marina Lambrini Diamandis. Thank you for the song seventeen. I may be stuck at age 14-16 for eternity but believe me when I say that I could never tell you what happened the day I turned seventeen. The rise of the king and a fall of a queen oh, seventeen. /Lyr

-Azula

[my-chaos-radio]

Release: April 3, 2015

Lyrics:

Froot

La-la-la-la-la-la

Juice

La-la-la-la-la-la

I've seen seasons come and go

From winter sun to summer snow

This ain't my first time at the rodeo

Nature ain't a fruit machine

She's gotta keep her credits clean

Good things come to those who wait

But I ain't in a patient phase

It's summer time and I hang on the vine

They're gonna make me into sweet red wine

Hanging around like a fruit on a tree

Waiting to be picked, come on cut me free

Come on fill your cup up

Looking for some good luck

Good luck, good luck to you

Hanging like a fruit

Ready to be juiced

Juiced, juiced

Living la Dolce Vita

Life couldn't get much sweeter

Don't you give me a reason

That it's not the right season

Babe, I love you a lot

I'll give you all I've got

Yeah, you know that it's true

I've been saving all my summers for you

I've been saving all my summers for you

Like froot, like froot

Baby, I am plump and ripe

I'm pinker than shepherd's delight

Sweet like honeysuckle late at night

Leave it too long I'll go rot

Like an apple you forgot

Birds and worms will come for me

The cycle of life is complete

I'm your carnal flower, I'm your bloody rose

Pick my petals off and make my heart explode

I'm your deadly nightshade, I'm your cherry tree

You're my one true love, I'm your destiny

Come on fill your cup up

Looking for some good luck

Good luck, good luck to you

Autumn, I'll be gone

Birds will sing their mourning song, song

Living la Dolce Vita

Life couldn't get much sweeter

Don't you give me a reason

That it's not the right season

Babe, I love you a lot

I'll give you all I've got

Yeah, you know that it's true

I've been saving all my summers for you

I've been saving all my summers for you

Like froot, like froot

Oh, my body is ready

Yeah, it's ready

Yeah, it's ready

For your love

Oh, my branches are heavy

Yeah, they're heavy

Yeah, they're heavy

Living la Dolce Vita

Life couldn't get much sweeter

Don't you give me a reason

That it's not the right season

Babe, I love you a lot

I'll give you all I've got

Yeah, you know that it's true

I've been saving all my summers for you

I've been saving all my summers for you

Songwriter: Marina Lambrini Diamandis

Like froot (Living la Dolce Vita)

Like froot (I'm in love)

Living la Dolce Vita

I'm in love

I'm in love

SongFacts:

👉📖

[thevertigomotel]

Starlight - Marina Lambrini Diamandis

[andossp]

listen im sorry but when we eat the rich marina lambrini diamandis is included