L.A. indie pop band The Marías released their second studio album, Submarine, under Atlantic Records on May 31, 2024. Formed by María Zardoya (lead singer) and Josh Conway (drummer/producer), alongside guitarist Jesse Perlman and Edward James on keyboards, the quartet blends English and Spanish into a unique genre-bending sonic identity. María’s well established, mellow vocals – influenced by Selena, Sade, and Norah Jones, on the band’s first album, Cinema (2021) solidified their dream-pop psychedelic soundscape. Contrasting Cinema‘s stylization of the color red, Submarine embodies a range of blues and symbolism on navigating life’s toughest transitions. Tinged with breathy lilts and honest lyrics on self-discovery and heartbreak, the album acknowledges Zardoya and Conway’s breakup.
Submarine opens with ambient tones, Perlman’s muffled guitar, and underwater soundscapes on ‘Ride.’ Within 14 songs, the band leans into and fuses new sonics, such as guitar pedals, shoegaze synths, electronica, and jazzy reverb. As the album’s shortest track, Zardoya’s love for film shines through as the short runtime symbolizes cinematic opening credits. “We can make a movie / We can take our time / Introducing Submarine.”
Submerging listeners into Submarine‘s unique soundscape, lead single “Run Your Mouth” navigates avoiding conflict and isolation. Paired with pop and R&B influences, Perlman’s guitar, and a hypnotic synth, Zardoya’s vulnerability shines through. “When we talk about / Everything that happened / Rather sit around / Don’t need another lesson,” she sings on the chorus. Paired with track seven “Paranoia,” an undeniably pop ballad on anxiety in romantic relationships, the two tracks emphasize the album’s isolating theme. “Your paranoia is annoying / Now all I wanna do is run away / Here I am, but you never seem to notice.”
More stripped back than other tracks on the album, “Blur” is held together by its dreamlike atmosphere and Zardoya’s echoing melodies. The relaxed tone reinforced by a soothing reverb, unravels the singer’s feelings of her relationship. “I need help, I need help, I need help / I might, might make it wonderful for once / In my life but nothing’s quite like it was / Surprised, something inside of me is a blur / Hindsight, I should have lifted my eyes.”
On “Ay No Puedo,” the band explores a new take on Latin-style R&B and jazz. The track centers around refusing to leave a situation despite the negative impacts on mental health. “Ay, amor (Ay amor) / Te fuiste sin decir “adiós” / Por favor (Por favor) / Vuelve con mi corazón.” (“Oh, love (Oh, love) / You went without saying goodbye / Please Please (please please) / Come back with my heart”)
Final track, “Sienna,” unravels the end of a romantic relationship and its unexplored what ifs. “Please tell me not to go / We’ve been here long before / I live under your eyelids / I’ll always be yours,” Zardoya sings. Titled after a reddish-brown color, the song seemingly serves as a callback to Cinema when Zardoya and Conway were still together. As the song progresses, Zardoya narrates her desire for motherhood and the possible child’s attributes, and reminiscences on the end of her relationship. On Submarine, The Marías delve into powerful progressions, dreamy confessionals, and vibrant production. The album’s sonic journey subtly obscures its themes of melancholy and mental health, yet effectively captivates listeners with its wide range.
