I'm not going combat against people who are more qualified to view the lyrics in Girls the way they do, that's their right but I do think it's easy to have multiple interpretations of those lyrics. I believe Marina herself has said it's a social commentary on how she viewed girls treating other girls around her and not necessarily how she feels about them. I don't know, it's a difficult one to unravel in a song the way she does, because it's always going to be abrasive when you take what you hear on the surface. It's tough. I mostly like it for its sonic value, which is why I gave it a 10 but I'm not going to shame anyone for hating it for the lyrics at the same time, even though I've always interpreted it as less of an evil as it could be viewed and has.
My issue with Girls is mainly that she blames the perpetuation of misogynistic viewpoints on other women, not on the patriarchal society we live in. The song also flips wildly between condemning women and condemning stereotypes assigned to women. She doesn’t fit in with girls because she doesn’t act the way girls are supposed to act - ok, but then she also dislikes other women for fitting in to society’s sexist molds? Like the lack of reflection is astounding. It’s a poorly written, nonsensical mess and, as a woman, I find it super uncomfortable to listen to Marina sing about her distaste of women who talk about “all the calories they eat” (esp. considering the prominent role eating disorders play in many women's lives). Maybe it’s satirical or Marina meant it to be viewed in another way, but that’s entirely unclear and I think the song is completely irresponsible and should’ve never been written.
I've mentioned it before, and I can't find the link right now, but if you've ever seen the Tumblr post she did the day she wrote Girls... yeah that aged abysmally.
Numb is a decent song but there's no way it deserved its #5 spot in the 2015 edition of this rate. Overrated. 7/10.
Obsessions falls into this category as well, though I don't believe that got nearly as high in 2015.
"Numb" is one of the (many) best albums tracks from "The Family Jewels". It grew massively on me, and I rated it higher than four of the singles from that album.
But I can kind of agree with you about "Obsessions", it was never one of my favorites. Same thing can be said for "I Am Not a Robot".
"Particularly with masculinity, I think men definitely feel disadvantaged by that assumption that to have an external display of strength equates to that. But also for all of us, again particularly in reference to relationships, I think I always learnt growing up that I had to be hard in order to protect myself, but I don't believe that at all anymore. I think life is easier if you don't have that emotional barrier."
As much as I don’t agree with Marina’s new beliefs on principle, I see Soft To Be Strong as pivotal point of the record and appreciate that she continuously lets us know of her personal journey. I think the middle 8 hits as hard as possible. How much hurt would I spare myself if I could stop projecting my self-hate onto other people? It is definitely a sentiment worth being reminded of and that’s why I’m not writing the song off, even if I find the production too muted and the melody sorta bland (I can't believe not one of you mentioned that the chorus rips off Forever Young).
I beg to differ, @Sprockrooster (8): "One of her better stripped down tracks."
@etienne (8) believes that an individual is responsible for the collective: "could be a 10 but this album sticks to such a predictable formula - such a shame as this is a strong song"
@abael (7) has a good idea: "Although it may be too far a departure from the rest of the album, I feel this would’ve worked better with a more acoustic backing. Production is just too homogeneous throughout the album."
The haters club is inaugurated by @Verandi (4) "Useless. She really does herself no favours with these lyrics and basic production."
@happiestgirl (5) joins him in distaste: "I fucking hate PLATITUDES"
@Cutlery's (1) take is a little extra: "MARINA post-Diamonds sure had a lot of firsts; bad album, bad videos... and this is for sure her first bad ballad. No not only bad: terrible, inspid, and as plagued as revolting lyrics as the rest of this wrecked album."
On the other extreme of extra awaits @DJHazey (10): "A glorious bookend to "Handmade Heaven" sonically. The melody across the chorus is flawless to my ears but I'm guessing it's probably boring to alot of people. Fair enough. It wraps up the idea of fear going away with the realization that showing your vulnerabilities could lead to a stronger and more fulfilling love."
Don't worry though, @Pecans (10) is here to agree: "A fantastic way to bring Love + Fear to a close. A great retrospect on the themes of the album. It’s touching and vulnerable."
@maverick_79 (10) states only facts: "Rick Nowels is a god." Plenty of his creation's were mediocre, checks out.
"balladina is still alive and kicking" @imaduck (9.5) declares ominously.
@Stradiwhovius (2) has the tea straight from the concert and that just reminds me I can't afford to see Marina live: "A tired rehash, musically and lyrically, of themes she's explored much better elsewhere. Performed live, the audience response can be summed up as "Happy but at 30%"
@babes aloud (8.9) calls the song a "Grown up." Makes me want to pull an Avril before that album where she was drowning with a guitar on the cover. Too lazy to look up what it was called.
@OspreyQueen (7) brings XFactor into the proceedings: "It’s a cute winner’s single, but nothing memorable. And I swear the piano in the outro is off-key."
If @sfmartin (9) means middle 8, then I'm right there with him: "A gorgeous ballad. Yet another strong bridge."
"Beautiful piano ballad that builds into something more. Beautiful closer, I love the production, I love her vocals, I love the lyrics. This is really great." says @Music Is Life (10) who loses his first perfect score today.
There'll be two more.
@Maki (6,75) has mixed feelings and I guess that's where I stand too: "Seeing Rick Nowels in the writing credits made me excited, but this was a disappointing first listen. Eventually, I got used to the vibe, but I can't help but feel slightly bored when listening to this track. It never explodes; instead, it just plods along (the song length doesn't do it any justice either). There are some promising moments, like that bridge, but overall, it's one of the weaker moments of the album. Underwhelming closer."
I might be only 23, but I’m an old git at heart and when I hear You, I feel like I might as well be dead already because… I just don’t get it. What is the point? What is the point of anything at all? Why am I running a rate for an artist that doesn’t mind looking like a copycat of any Scandinavian blonde wig with a Spotify account? And then I take a deep breath and blame that little troll Patterson for everything wrong in my life. He’s the BloodyAss of Marinazhole and I’m only a camper.
@Bangers&Bops (3) yells at a cloud with me: "Eww. Spotify song by the numbers."
For S-word voters it's all about the b-word today. @Sprockrooster (6): "Boring." @sfmartin (6): "bland." They even have matching scores, I can't!
@etienne (7) is the first to call out the part that drives me up the wall: "this isn’t actually too bad but the high-pitched chorus you-hoohoo-hos are annoying"
@abael (4) is absolutely right too: "It would make for fine background music, but actively listening to this song is annoying. You can distort a word only so many times."
@Verandi (10) on the other hand, wants to ruin Froot: "This… might be my favourite track of the album? The production is immaculate, full of nice little details. It would fit well in Froot."
For @DJHazey (9) it's the opposites day: "Catchy and straightforward pop song with Marina's infectious high-pitched vocals making 1,000 renditions of the word "you" sound like fun rather than a chore."
@happiestgirl (9): "I'm a sucker for her angelic voice on you-u-u chorus" They're so vile, tho.
@imaduck (7.5) suddenly gets standards: "sort of cookie cutter 2018 female song without any real substance"
"Very catchy,"@P'NutButter (9) judges. This is not a good thing!
Once in a blue moon I may agree with @Stradiwhovius (4): "The Fear counterpart to True in being very auto-pilot and uninspired. But perhaps held back by Fear being generally a little better."
@babes aloud (7.1) couldn't have said it better: "Not the type of song we want from this artist."
@OspreyQueen (5): "Just as uninspired and forgettable as its title would suggest."
@Trouble in Paradise (7,5): "She’s a fun little basic bop! The vocoder really works for me here. Marina also nails the lyrical content here without any real stinker lyrics! So let’s celebrate that.gif" I'll take Misogirina over this, thanks xx
@Music Is Life (10) supports bops' rights: "OOOO Love this one, especially the production and those vocoded (I think) You’s in the background and the post-chorus makes me bop."
@Maki (5,25) provides a fine summary: "My least favorite song from this album. It's so faceless and beige and sounds like something taken from a random radio list. The chorus sounds so off for some reason, there's something about it that irks me. The 'you-ooh-ooh' bits are really nice, but the rest is not that good. It really has no personality, at least the demo version did."
The demo is lit to be fair, but it's absent from YT, so here's another L+F outtake instead:
Remember when she asked a literal interviewer if they thought this song was bitchy? And then tried to reframe it as not really a drag? The same woman who had a song dragging the entire Earth’s population on her previous album? She sends me.
@happiestgirl (8) is cracking up too: "I just can't at the messing up the towels lyric. Marina they're TOWELS"
That's not the last we'll hear about this particular lyric. "I somehow both tuned out and started ironically stanning with the hilariously awful line about messing up her towels. Petty icon." kiis @Stradiwhovius (4.25).
@RUNAWAY (6) is less amused: "this song is so bad. The lines about a transfusion, messing up TOWELS...sis. What even? The lyrical content is so bad here."
I suspect @Miyawakiwi (7.5) messed up someone's towels and was not invited back: "Not a fan of the lyrics lmao"
"This sounds like the average PJSC-entry to be honest. But then a bit better produced." @Sprockrooster (8) comments and I cackle at the @imaduck (7) response: "a little basic for me".
It's also too b-word for @abael (6): "Production makes a few interesting choices here and there, overall however, this composition is just too basic to not just be time-wasting at this stage of the album."
Speaking of the production, @Verandi (6) knows a bargain bin one when he sees it: "Very Romanian popstar reject song. Decent, but there's zero emotion in this."
Speaking of europop, @OspreyQueen (7) throws some accusations: "It’s blatantly her attempt at a New Rules (with a bit nicked from Shape of You), but eh, I love New Rules so I like this song by extension. It’s a harmless little empowerment bop." I... don't see it.
A scarily sense-making comparison come from @pop3blow2 (8.3): "Not too shabby. Sort of Taylor Swift-y in a way (just in tone & even lyrical ideas). I guess since Tay borrowed pretty heavily from Marina in places on Lover, it’s all fair game." Now I'm imagining Marina singing You Need To Calm Down and I need... not to.
@DJHazey (9) is slightly off-put too: "I feel like this could have resonated with more if it hadn't been represented by the term "suckers", because there is enough of a dynamic story here (towels and food aside) to become a little anthem for people. I get what she's going for here, a sassy 'read' done her way. Maybe I'm wrong, I don't know, maybe it's just hell no from many without a chance in hell of being redeemed. Either way, I'm still loving it."
@Maki (8,5): "The most interesting production on this side of the album? Possible. There is some attitude here, especially in the pre-chorus, which is missing in all but a few songs here. The middle-8 is forgettable, which is a shame because the rest is memorable. And the final 30 seconds are quite epic, with all those vocal effects." Tell me you used interesting in a @Music Is Life way.
Speaking of, @Music Is Life (8.75), who only scored End Of The Earth and Emotional Machine lower than this on L+F, says: "BOP. But also not as good as other songs here."
@sfmartin (7) wants Girlsrina back: "fine I guess but still lacking her acerbic bite. The sound is far too middle of the road."
@babes aloud (6.4) nails it yet again: "I don't know if the musical influences from this album are successful or what anyone wanted from Marina."
Well my 10s speak for themselves but I think No More Suckers and Soft To Be Strong are wonderful. No way should they be out before the likes of Rootless (yes, I'm banging that drum again), Shampain, Guilty, Living Dead and Valley Of The Dolls.
