Laurence Day for The Line Of Best Fit:
Really though, her talent lies in her lyrical proficiency.
Diamandis has always been one for intelligent, curveball lyrics – even when dissecting tried’n’tested pop staples like relationship foibles, she’s managed to warp the viewpoint or inject a fresh take. It’s a talent that stretches all the way back to her first murmurs of noise like “I Am Not A Robot” or “Obsessions”, and on FROOT, it’s showcased to its greatest effect.
Primarily about the maelstrom of battling emotions following a breakup – she’s the ender, laced with a thousand regrets – the record sees Diamandis take that frayed thread of listlessness and conflict, and yanks it until her entire world is unravelled. This is Diamandis laid bare, exploring her own sanity and life from every angle, confused, battered and emotionally drained, but ultimately hopeful. It’s one of the most complex pop albums of recent years, and like any great steamroller mind, she can’t quite contain herself. Rampaging and ramping up with anxious ‘what if’ upon anxious ‘what if’, Diamandis quickly finds herself asking the big questions. Not simply about love anymore, FROOT swiftly becomes an anthology of astute nihilistic, existentialist discussions.
Album of the year contender, no doubt.