1. "I'm Dying" / Length: 2:15 / Written by Marina Diamandis & Steve Angello / Produced by Steve Angello & Greg Kurstin

2. "Needles and Pins (I'm Not Alright)" [EXPLICIT] / Length: 5:37 / Written by Marina Diamandis, Łukasz Gottwald, Henry Walter, & Rick Nowels / Produced by Dr. Luke, Cirkut, Marina Diamandis, Porter Robinson & Rick Nowels

3. "What You Don't Have" [EXPLICIT] / Length: 4:11 / Written by Marina Diamandis, Patrik Berger, Caroline Hjelt & Aino Jawo / Produced by Diplo, Calvin Harris, Patrik Berger, Caroline Hjelt & Aino Jawo

4. "Holy Woman" [EXPLICIT] / Length: 3:49 / Written by Marina Diamandis, Łukasz Gottwald & Bonnie McKee / Produced by Dr. Luke, Cirkut, Kool Kojak, Ammo & Benny Blanco

5. "What You Did Wrong" [EXPLICIT] / 3:17 / Written by Marina Diamandis, Porter Robinson & Henry Walter / Produced by Porter Robinson, Diplo, Ammo, Cirkut, & Chase & Status

6. "The Wrong One" / 4:01 / Written by Marina Diamandis & Liam Howe / Produced by Liam Howe & Julie Frost

The opening track to the EP definitely sets the mood: There's a dizzying array of airy synths dancing around the place in the intro; Marina seems to make a gasp every few seconds, and there's a faded vocalization similar to the opening of "Needles and Pins (I'm Not Alright)" [SEE: Below], but it's much softer, making the listener wonder if they're really hearing it, or if it's just their imagination. She goes on about the "messy things" that have happened in her life, and why she wishes she hadn't done this or that, and why she wishes that she could go back in time and prevent her own birth. It's gloomy, but Steve Angello really makes the instrumental try to sound more on top of thins. It feels almost completely Angello for the verses, and we wondered why we didn't hear any of Greg Kurstin in the song, but that's when the chorus came in: Marina describes that her life is ending, and she's not upset about it at all; things are apparently a waste, and she doesn't want to spend any more time here than necessary; she sings so over a raging, stomping kick drum and bubbling bass that could only be from Kurstin's productions; "I'm not going to lie to you, I'm dying. I'm tired of all this messiness, and I won't leave here crying; I'm completely done, the battle hasn't been won". There's a slight buildup in the chorus, and you think the song might just break into a beat, but then it just cuts back to the verse, with twinkling little sounds and an occasional drum stomp. It's only in the third verse where we really hear something new to us, where Marina cries about saying goodbye and big "I hate you"'s to people she won't miss, but the beat is almost not there; it's dwindling, and sounds like it's winding down, but that's definitely the point of it. It returns to the chorus, but it's only the bass, and then the build up once again, and then it just crashes in an end. 7/10

If you haven't heard this song yet, we can only say we were in shock to hear it was the tagteam of Dr. Luke and Cirkut producing it; then again, it also had help from electro producer Porter Robinson and the magnificent Rick Nowels. It's a story some of us can relate to; she loves some guy, wishes she could play it cool, but he gives her "needles and pins", and he already has some girl that's just messing up Marina's entire mind. There's a ginormous dubstep & electro drop in the middle 8 that could only be from Robinson & Cirkut, and it completely changes the game of the song; a dubstep drop may be predictable in this day and age, but this one somehow changes everything, and competitors should step it up after hearing this one. The last chorus is the most danceable part, with more synths that make you lightheaded, a stomping beat, and a raving bass line. 9/10

It was almost shocking to hear that Diplo, Calvin Harris and the girls from Icona Pop could all work together with Marina to write (and produce) a song. They all have separate sounds, but it somehow seems to work. Opens with a road-rage-like bass ("I Love It", anyone?) that would pump up any party. Marina teases a girl that has apparently tried to take her man, and shows her that no matter what materialistic things the woman has, Marina still has what she doesn't, "**** and a fine-ass man". Diplo produces a large thump in the verses, similar to other productions he does, and then teases every few moments with a high-pitched beat that sounds like it would last longer, but then goes away before it can amount to anything. Harris really controls the chorus with another Harris-typical stomping beat that would dominate any dance floor the second it hit. Despite the fact that you'd think the beat would be alone to allow dancing, Marina continues to vocalize over it, and it works perfectly. There's no really slow part in the song, but part of the lyrics do come off as comical (Thanks a lot, Icona Pop), yet it still works amazingly. The last chorus is full of sizzles, stomps, rage and rave, and you may have to listen to it several times to even begin to comprehend all the electronic things going on in the beat. 8/10

This one was definitely the highlight of the EP. There's a chaotic beat in the entire song, with both airy stabs of a synthesizer, and yet a low rumble of a bass. Hitmakers Dr. Luke & Bonnie McKee wrote the song with Marina, and electro stompers Cirkut, Kool Kojak, Benny Blanco and Ammo produced the song to perfection. It was a bit hard to grasp what the song was about, mostly because Marina goes everywhere with it ("I'm not your Holy Woman, but I can be your sinful lover", "Blood on the walls, people dead on the streets, children talking backwards and us between the sheets"), but "Holy" doesn't even begin to properly sum it up: With a dancing beat, the song is almost sinful to listen to; something this could couldn't be holy in any way. The verses are full of Cirkut and Luke, with their typical dancing guitar, but Kojak manages to bring it to electro perfection with a crunchy, dancing beat underneath it that makes you forget about the fact that there's a generic guitar in it. The chorus is all Ammo, Kojak and Cirkut, with more stomping, dancing, sexy electro pumping and grinding everywhere in it while Marina continues to sing about God-knows-what. The third verse isn't dubstep, but you'd expect it to be: Ammo and Cirkut take over once again, with a complex electro (Complextro is a genre, readers) beat that stomps and growls, bound to blow out any weak speakers of the average listener. Marina harmonizes with herself over layered vocals as she sings, this time clearly, about worshipping people you love; which she describes as "a Hell-bound pleasure". The last chorus brings everyone in production (and Marina) together perfectly, with a mixture of everything you'd expect from them, yet it's still vastly different from anything they've done, or anything else on the EP. 10/10

Seeing the path Marina was taking so far, you'd better expect a heartstopping dubstep song on the EP: Chase & Status, Porter Robinson & Cirkut produce the perfect drops everywhere in the song; there isn't one specific drop, because things just keep going everywhere. Marina describes an abusive lover, and sings about why he shouldn't have done any of the things he did, and why he should've paid more attention to her and her feelings. Ammo brings in the occasional crunchy, grinding beat that lasts for a few seconds, and like the other tracks, everything works perfectly. There's no real chorus, but it's not necessarily all verses; it's a mixture of everything. The wub and the electro even each other out in various sections of the song, mixed to perfection by Chase & Status and Robinson. The last thirty seconds will end your life once you wake back up after passing out from the beat. 8/10.

There was bound to be the obligatory "sad-song" on the album, despite the fact that most of these songs were sad enough; you'd just never know it from their instrumentals. Perhaps the most sentimental song on the album, it's definitely a story we haven't heard before: Marina thought she loved a man, and her actual "view" on him never changed, but it came over her that she wasn't ready for love, she was just "in love with the idea of being in love". There's no real beat to the song, just Marina and Liam Howe's piano. Every now and then, there's a slight build with a guitar (Julie Frost, no doubt), but it never really amounts to any lush beat. You may want to stock up your tissues for this one, because Marina's voice is heartbreaking. There are some parts where she sings quite softly, then takes a large breath and belts out the most beautiful notes you'll ever hear in music. There's one part that has a long piano rift that's more fast-paced than the funeral-paced bit the rest of the song has been, but it's definitely not upbeat. Definite tear-jerker. 9/10.