After a four-year hiatus since her last album Ancient Dreams in a Modern Land, Gaulish artist Marina Lambrini Diamandis returns in June 2025 with PRINCESS OF POWER, an album in which she introduces us to her new persona. Clearly from the same family as her previous Electra Heart, this musical return to her roots marks a desire for independence, being the first album to be released on her own label, Queenie Records. Written and co-produced with American CJ Baran, this sixth opus plunges us into a disco-synth-pop universe filled with emotion, self-affirmation, and empowerment. The artist confides that she created it as a way of relearning love.
The album opens with the title track “PRINCESS OF POWER,” which immediately sets the tone with its mix of ’70s and Europop influences. The singer recounts her disillusionment while remaining resolutely optimistic— “I’ve been hurt by those who were supposed to treat me right, but love is my design.” In the same vein, a little further on, we find “I <3 You,” which confirms this direction, reminiscent of both the recent work of Dua Lipa and ABBA.
Next comes the theme of regaining personal power, explored in “BUTTERFLY” with the verse “Too bad you’ll never see, the colours inside of me.” CUPID’S GIRL,” and “DIGITAL FANTASY,” a nice nod to Europop with its lasers and sonic waves, “FINAL BOSS,” and the most daring of them all, “CUNTISSIMO,” which opens with a tango-like beat before evolving into an electro-beat where the messages are delivered against a backdrop of violins and Italian-style synths, accompanied by an aristocratic-style visual.
Along the way, lighter and more humourous songs run through the album, such as “ROLLERCOASTER,” where the artist lists all the crazy things she would like to do, and absurdly, “EVERYBODY KNOWS I’M SAD,” on which she confides with self-deprecating humour, / “Maybe I’m not built for this kind of connection/Why is it so hard to let myself get close,” in a vocal flourish leading to one of the album’s most catchy choruses.
This reminds us of MARINA’s more accessible and fun side, which has always been present in her work. Finally, the following songs offer us beautiful moments of sincerity and poetry; “JE NE SAIS QUOI,” a reverie inspired by a handsome stranger with arrangements reminiscent of certain Bond songs; “HELLO KITTY,” a candid guitar sonata for new lovers; “METALLIC STALLION,” the slowest and darkest song on the album with its tubular bells and melancholic melody; “ADULT GIRL,” a magnificent introspective ballad with textured piano delivering the perspective of a woman-child: “Try my best to act my age but the child inside won’t behave / She wants to scream and cry and rage and who am I to dig her grave.”
All in all, this bouquet of 13 songs filled with hope, audacity, beautiful nods, delicious vocal progressions, inspired ad-libs, and polished production is well worth a listen. Some, I have read, consider this album to lack risk and surprise. On the contrary, I find that MARINA puts herself at risk here, while skillfully returning to her roots, to her musical strengths. Perhaps not her best, but definitely among her most interesting.
