Marina and the Diamonds - "I Won't Miss You"

The lead single from Marina and the Diamonds' upcoming, unnamed album, "I Won't Miss You", has officially released. The single's music video is set to debut later this week. Marina is also confirmed to be on Jimmy Kimmel later today, TRL (7/30/13), The Today Show (7/31/13), an awards show (8/1/13), Good Morning America (Yet again on 8/2/13) and Saturday Night Live (8/3/13). Be sure to purchase it on iTunes and Amazon or at a local retailer near you!


Release date: July 29, 2013
Written by: Marina Diamandis & Porter Robinson
Produced by: Porter Robinson, Madeon, Marina Diamandis & Varien
Length: 5:49 (Album version); 3:14 (Radio edit)
Genre: Complextro, electro, dubstep

"Opening to a simple hi-hat rhythm and a gentle piano melody, the song doesn't have an immediate emotion to it. It's peaceful and sweet, but it's far from the harsh, almost-taunting & naughty feel that may come later on. Marina vocalizes, sounding like a siren ready to lure the listeners to the rocky but perfect rest of the song to come. The hi-hats stop, and it's just the piano, Marina's vocals becoming layered, harmonizing with herself. A small, subtle synth builds in the background as the first verse begins, almost hinting at a beat drop, but being far from what's really coming. Marina sings on and on about what she did wrong in a relationship, stating she 'Shouldn't have trusted you in the first place'. After the first verse, in the pre-chorus, there's a definite choir in the background over a stomping drumbeat, with loud synths sizzling and ringing around, the obvious work of Madeon. Marina sings, her voice full of emotion, but still held back compared to the upcoming chorus. After a moment, there's a heartstopping bass note, though it's faded, as if ready to build up to something; it could only be the wonderful Porter Robinson. After the bass note, there's a dreamy, rolling type of synth that's gentle, the only sound in the song as Marina stopped singing for a moment; still Porter Robinson. After around ten seconds of the synths, they fade down, but still remain, as a low, grimy little dubstep beat (But not full out WUBbing) begins thanks to the contribution of Varien to the song; there's a subtle 'wub', just enough to please fans of dubstep, though it's far from any amazing dubstep song put out before. After the beat stops, there's a moment where there's complete silence... And then the song erupts into rocky madness. The drums kick in, stomping and loud, a regular, familiar rhythm, but still loud and alarming. The bass hits, low and loud enough to blow out some speakers if you're not careful enough. Marina begins to sing an obvious chorus. Other synths swirl and sizzle in and out. '(You and I can't settle our s**t, just admit that you were wrong'). Once the lyrics are finished, the drum goes to only a kick and the bass dies down to a small rumble, but the swirly synths remain as Marina vocalizes once again, similar to the intro. In the second verse, she continues on singing, her voice more angelic than ever. The beat is simply an electro kickdrum, similar to Madeon's previous work, though with each beat, there's a hidden sizzle and crackle, as if the drum is forcing sound out. The song repeats itself for the pre-chorus and chorus, though the first bass note and the dreamy synths are gone, leaving only the regular pre-chorus and the small Varien-y dubstep. Once the verse ends, there's the sound of a couple fighting added to the background, and there are obvious swears in their fighting. Once the couple stops yelling, there's the sublte sound of a woman crying.... And then all Hell breaks loose. The bass returns, harder and more aggressive than the chorus; this one's sure to empty someone's bowels if they're sensitive to their music (And it's far from something for the faint of heart). Marina begins scolding her ex-lover, calling him a variety of names ('You selfish little prick, I was only trying to love you!'), and her voice harmonizes with more vocalizations underneath. After the change in that verse, there's yet another beat. It's back to the dreamy synths from the first pre-chorus, just a simple, light and bubbly feel. Marina begins to sing, reflecting on the past and dreaming of a perfect relationship. Then, the song stops for more silence, and there's the sound of a speaker blowing out with a small sizzle... There's a brief buildup, and the smashing chorus returns, the sound of many hi-hats, acoustic drums and smashes adding to a sense of chaos and urgency in the song. The bass is less crunchy, more rolling, but definitely loud and raving, proper to send any club dancers into overdrive. Synths dance and fly madly around the song, and then it all ends with one loud smash."