Admittedly, the theme perpetuated by both albums is fairly consistent: each deals with a thirst for success. However, their approaches are markedly different. The Family Jewels explores Marina’s craving for the extraordinary in an almost therapeutic way, acknowledging, and sometimes mocking, the neuroticism which accompanies any pursuit of greatness. It retains a refreshing uniqueness, not only in its honesty, but in its nonconforming sound, making it one of my most-played albums. For Electra Heart, though, Marina seems to have dissected what it is to sell big, rearranged the components and created a disc which fits snugly into the Top 40 conveyor belt. And so it seems that Marina has achieved both money and fame. However, with repetitive, meaningless lyrics about radioactive humans (although it is possible that she is prophesying a nuclear disaster due to Tory idiocy, in which case, I take my hat off to the lass), she shan’t be changing much anytime soon.