I’m pretty sure you have already heard of the great current band The Marías, named after its cofounder and lead singer María Zardoya. Today I am reviewing Melt, María’s debut album from her solo project Not for Radio. However, before diving into it, I would like to introduce you to the background behind these musical personalities.
The Marías is an American indie pop band founded in Los Angeles in 2016 by the Puerto Rican singer María Zardoya and the American drummer Josh Conway. They were coworkers in the Kibitz Room bar in Los Angeles, where she performed and he was in charge of the sound. The first open mic night she attended, Josh fell in love with her voice right away, so he proposed that they compose together, initially creating tracks for film and television projects. They instantly connected both emotionally and creatively, which soon led to them starting to date. To complete the band, they recruited their close friends Jesse Perlman (guitar), Edward James (keyboards) and Carter Lee (bass), who left the band in 2019, at which point Doron Zounes took over on bass for the tours and live performances. The reason behind the group’s name is very simple: although María was a little reluctant at first to use her name for it, in the end they decided that her voice was the band’s defining feature and symbol. I like to think it’s similar to how we sometimes refer to families by taking the father’s last name.
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‘The Marías’ band members (picture from thfogasabullet on Pinterest)
They nearly split up after María Zardoya and Josh Conway broke up toward the end of 2022. That breakup cast doubt on the future of the entire musical project, until they found a way to move forward: first, they took a six-month break to decide whether they would continue making music separately or as a group, and then they managed to reconcile thanks to band therapy. They realized that a romantic breakup couldn’t be the end of a band that champions vulnerability and has such a powerful passion for music. María admitted that breaking up with Josh was the hardest decision she had ever made, but she had been a “serial monogamist” (going from one long-term relationship to the next) since the age of 15 and had never truly experienced her own individuality, so it was vital to her personal growth.
The Marías have released two full-length studio albums and two EPs, which are, in order:
Superclean, Vol. I(2017): Their first EP, featuring soft, dreamy songs like “I Don’t Know You.”
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Superclean, Vol. II(2018): The second part of the previous EP, featuring acclaimed tracks such as “Cariño.”
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CINEMA (2021): Their first studio album, featuring a psychedelic and cinematic sound. One of the most beautiful and famous songs on this album is “Heavy,” my undisputed favorite.
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Submarine (2024): Their second studio album, with more aquatic, isolating, and melancholic sounds, the result of their healing process and which was the easiest to compose, as they expressed their most sincere feelings on it. “No One Noticed” is, in fact, the band’s most-streamed song.
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This bilingual band makes songs in both English and Spanish in honour of María’s roots. She was born in Puerto Rico and grew up listening to Hispanic music before moving to the United States, which is why her native language constitutes a fundamental part of her identity. She gets inspiration from great Latin music artists such as Luis Miguel and Selena Quintanilla. Singing in Spanish is a way to pay homage to her childhood sounds and to connect with their audiences in Latin America. Speaking of which, María has mentioned that collaborating with Bad Bunny in “Otro Atardecer” on his album dedicated to Puerto Rico — Un verano sin ti — was something extremely special for her and her family.
Now that we know a lot about this band, we can start talking about María’s own project: Not for Radio. She chose that title to express that she was going to make more intimate music that strays from commercial pop songs. However, the singer has stated on her social media that The Marías isn’t splitting up and will continue to exist forever; she’ll simply balance both projects depending on whether she wants to express the band’s shared feelings and thoughts or her own more personal ones. It’s almost like what happened when she and Josh broke up but decided to keep the band together: their love didn’t end; she simply wanted more individuality while still being a part of his life and preserving what brought them together — music.
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Under the name Not For Radio, María Zardoya has released a shorter but very special body of work, in which she combines experimental, gothic, and psychedelic folk sounds. In particular, she’s dropped a full album, an EP and some featured singles:
Melt (2025): her debut album, which she composed during the cold winter of January 2024 in Upstate New York, in the mountain village of The Catskills. We will then see why she gave it this title and background.
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‘Melt’ vinyl (picture from pvlmyy on Pinterest)
Bloom (2026): she described it as a spring-like project to shake off Melt’s snow.
‘Bloom’ vinyl (picture from tomk_e on Pinterest)
Now then, the album I’m going to review today is Melt — very easy to analyze now that we know the full context. The title serves as a metaphor for both the physical ice melting beneath their feet along the forest trails she and her team roamed, and the frozen emotions stemming from her grief after breaking up with Josh, which eventually thawed and turned into music. That winter isolation gave the album a sound full of peace, slow tempo, soft pianos, echoes, and a great deal of melancholy. It consists of the following 10 songs, which I’m going to comment on one by one:
Puddles: I believe this is a great choice for an opening song given the title of the album. In this track, we can already see how the ice has begun to melt and form muddy puddles. It clearly describes a relationship between two people who have seen the most intimate parts of each other, not only their nude bodies, but also the light inside of them. It combines the physical and sensual aspects with the tenderness of touching the other’s hair. She says she’s “seeing double” — her idea of them and who they are in reality — , and “already scared of what losing feels after we dare”, meaning that she is afraid they’re going to get hurt if they decide to be together. She pictures them in those puddles, formed after all the rain, and thinks they’re “walking in circles and talking in stares”: she and her partner lack true communication, they speak through their eyes instead of words, which leads them into a loop where their problems are never resolved. I must differ from her when she sings “Don’t think that love is worth all the pain”, since I am never afraid of loving, never afraid of commitment, and never afraid of trying. If you ever think you should try, then try. Love can sometimes hurt. Love makes two people go mad. Love is coexistence, living together, using your freedom to sacrifice certain things for your lover and choose them above anything else. As Nana Osaki said, “Hey Hachi, no matter how much or how often people hurt each other, loving someone is never a waste.”
Picture this, I see you At the foot of my bed As you watch me undress I wanna be next to you 'Round the bend, I'll follow In the warm summer air I remember you there With your hands in my hair Puddles and puddles, I picture us there Walking in circles and talking in stares I'm seeing double, I'm already scared Scared of what losing feels after we dare Through the trees, I forget That we've not even met But I wanna pretend That you're living with me And through the lеaves, I'll love you In the dеad of the night I can carry your light inside of me Puddles and puddles, I picture us there Walking in circles and talking in stares I'm seeing double, I'm already scared Scared of what losing feels after we dare (dare) Puddles and puddles, I picture us there Walking in circles and talking in stares My mind is blurry from all of the rain Don't think that love is worth all of the pain Puddles and puddles, I picture us there Walking in circles and talking in stares I'm seeing double, I'm already scared Scared of what losing feels after we dare (dare) Puddles and puddles, I picture us there Walking in circles and talking in stares My mind is blurry from all of the rain Don't think that love is worth all of the pain Think I should try But I think I should try But I think I should try Yeah, think I should try
My Turn: Wow! I don’t even know how to start. This is one of the greatest songs on the album. It can be interpreted in two ways: as an apology to someone she has hurt or an apology for hurting herself. I prefer to think it is the latter version, where Daisy, named after the flower, represents the innocence, purity and freedom of a state of mind which has been damaged by her own self when she was in love. Two people live inside of her — the harmless and the harmful. “You didn’t deserve it / All of the things I did / And what a lesson learned / I died ’cause it’s my turn”: she’s put herself into a situation where her mental health has gone down because she’s had very low self-esteem and, out of vengeance, it is the turn of that damaging alter ego to die and let self-love take its course. “Daisy, I wanna be the same as you / The way you read my mind”: she wants to go back to being Daisy, the only other person who truly knows her and her needs. My favourite part is when she says “I died when I lost you”. You really know you’ve failed at love when you’ve lost yourself because of it.
Daisy, I'm sorry for the way I am when I'm alone Inside my mind, I cry Lately, most all I think about is how I did you wrong And how I paid for it You didn't deserve it All of the things I did And what a lesson learned I died 'cause it's my turn Daisy, I wanna be the same as you The way you read my mind The wildness when you're high And if you only knew I loved you Daisy, how does it feel to be alone? How does it feel inside your own? Without the wrinkles in my eyes? Without the sadness that you've known We may never be the same But I would never let you die alone (alone) You didn't deserve it All of the things I did And what a lesson learned I died 'cause it's my turn You didn't deserve it All of the things I did And what a lesson learned I died when I lost You You You You You (you) You (you) You (you) You (you)
Moment: this song is very personal to me. It portrays almost perfectly how I perceive love: the need to melt inside them, adapting constantly to all states of their matter, merging and disappearing together, and them being your idea of heaven. She knows summer is going to be the reason for their end, but she still wants to try fighting against their impending melting instead of hiding from the sun’s heat. However, I think it is very interesting how these lyrics describe a kind of love that is rather cold and belonging to bad weather, unlike other songs that describe it as something warm and stable; here, warmth is threat to love. “In this moment I break, in this moment I want more / But this moment will change and I’ll never be all yours”: nothing is enough for her, she’s not satisfied yet, she wants more — more melting, more fusion, more togetherness. But she knows she’ll never get what she wants from her partner because they’re not as committed as she is. This doesn’t mean she thinks trying isn’t worth it because, against all odds, she believes in him.
Heaven is a place beside you While we're walking by the shore Spider crawling through the meadow I'll invite him to your door In this moment I break, in this moment I want more From the moment I wake, I'll be lying on your floor In this moment I break, in this moment I want more But this moment will change and I'll never be all yours Man, I wanna melt inside you Form to water, then to ice But if it goes into the summer Don't think that I'd wanna hide In this moment I break, in this momеnt I want more From the moment I wakе, I'll be lying on your floor In this moment I break, in this moment I want more But this moment will change and I'll never be all yours Disappear with me With me Disappear with me With me Disappear with me With me By the gliding sea
Back to you: personally, I think this is one of the saddest songs on the album. It works as the lyric counterpart to “Back to Me”, from The Marías. While “Back to me” is a desperate attempt of returning to someone who’s already gone — it even mentions they should meet in Montauk, as a reference to the amazing movie Eternal Sunshine of the Spotless Mind —, in “Back to you” she’s aware of their inevitable breakup, but she also thinks there’s still hope for them to work things out. To me, the most heart-breaking part is the use of a “fallen star” to represent the only thing you can hold on to in order to continue giving yourself to that person: fallen or shooting stars are not actual stars, but streaks of light caused by meteoroids falling into the Earth’s atmosphere and burning up. She refuses to get involved with somebody new because she thinks there’s still a “fallen star” that links her to her former lover. That fallen star is the most precious, but ephemeral part of their connection. It could be the sensuality of him putting his “hand inside her pocket” as an invitation to intimacy. Or the trust she placed in him so that he would see her in a “crystal gown” and appreciate her brilliant, naked mess. Or the tenderness of getting into his car, kissing and caressing his neck. She’s up to learning how to fly until she’s his again. I love the use of the door as a barrier to getting back with him. She’s waiting outside his door, hoping that some day he finally opens it for her to enter in his home, his heart, again, so things can go back to what they once were. Despite everything she says in this song, I think she’s aware that this is just a feeling and she shouldn’t always act in accordance with her emotions. They’re already apart, which is the hardest decision they’ve made. This is just a common feeling that follows a recent break-up, when you really don’t want to get mixed up with anyone — neither romantically nor intimately — because it seems unimaginable to share a moment like that with anyone other than him. Only time will tell if that feeling is really that deep and unstoppable enough to know that he really is her person.
Maybe in another life I'll be yours again Until then, I'm wasting time Until I'm yours again 'Cause I tried To find a fallen star And hope it brings me back to you I hope it brings me back to you I hope it brings me back to you I hope it brings me back to you I hope it brings me back to you I hope it brings me back to you I hope it brings me back to you I hope it brings me back to you Maybe in another life I'll be yours again I can learn how to fly So I'll be yours again I may have heard it Calling by your door I hope it brings me back to you I hope it brings me back to you I hope it brings me back to you I hope it brings me back to you I hope it brings me back to you I hope it brings me back to you I hope it brings me back to you (you) Put your hand inside my pocket If it's not you, I don't want it I'll be there outside your window Dressing gown that's made of crystal Shining disaster (take a bow and take off my dress, naked by a sea of orchids) Pulls me through the floor (park your car, I'll kiss your neck) (Trace it with my fingertips) I hope it brings me back to you (put your hand inside my pocket) I hope it brings me back to you (if it's not you, I don't want it) I hope it brings me back to you (I'll be there outside your window) I hope it brings me back to you (dressing gown that's made of crystal) I hope it brings me back to you (take a bow and take off my dress) I hope it brings me back to you (naked by a sea of orchids) I hope it brings me back to you (park your car, I'll kiss your neck) I hope it brings me back to you (trace it with my fingertips) I hope it brings me back to you (put your hand inside my pocket) I hope it brings me back to you (if it's not you, I don't want it) I hope it brings me back to you (I'll be there outside your window) I hope it brings me back to you (dressing gown that's made of crystal) I hope it brings me back to you (take a bow and take off my dress) I hope it brings me back to you (naked by a sea of orchids) I hope it brings me back to you (park your car, I'll kiss your neck and) I hope it brings me back to you (trace it with my fingertips) Put your hand inside my pocket If it's not you, I don't want it I'll be there outside your window Dressing gown that's made of crystal
Swan: I deeply resonate with this song in this exact moment, so my reflections on it are going to sound cathartic. It was my first time listening to it while I was writing this and I couldn’t help but cry. Swans are my favourite animal, and I always say I can see my love language portrayed in these beautiful creatures: they choose a partner to be with and love them for a lifetime because monogamy is embedded in their nature. Since Ancient Greece, legend has it that swans are completely silent their whole life, but right before they die, they sing a beautiful, melancholic last song, which in this track María says she’d dedicate to her lover. This is the song that best represents submission to love: choosing, promising, owning and, above all, empathizing. The latter is the most difficult, but definitive action: “I could be the most dеserving / Once you try to understand”. Until now, when I’ve been in a relationship, I’ve always felt that my partners didn’t get to really know me. I’ve always felt misunderstood, misinterpreted, and even hated sometimes. There’s always been a lack of empathy, as if they thought everyone was against them and I was only another one of their enemies, judging them when I tried to communicate. I don’t want it to seem like I’m bragging or victimizing myself, but I know what kind of person I am. I know that I’ve always treated them with kindness, purity and empathy. I’ve always forgiven whenever they did me wrong, whenever they were unkind to me, whenever they made me feel like I didn’t matter to them. I’ve always insisted, I’ve always fought for them, I’ve been the most patient. And, also, I’ve always tried to think great about them, not letting what they did to me stain my perception of them. Instead, I even find myself justifying them. But they never treated me the same way. This leads to them thinking I don’t deserve to be understood, neither loved nor listened to. And, still, I think this was not their intention, but it’s been ages and they keep looking at me as if I was the one who was wrong and didn’t love them. That’s why this verse is so important to me. Even after the heartbreak, I’ve always thought it’s a waste of time to hate someone you’ve loved and who has loved you — it’s a pathetic way of desperately trying to tell that person that you’re better off without them, when it isn’t even true. Especially because they have no reason to hate you or let you know it, whereas you might — but deep down, you still hold onto the memory of the most beautiful thing they ever gave you. “Part of me is a part of you” — what a beautiful and honest thing to say to someone. Connection was so real that you really recognize a piece of yourself in each other, to the point where you find it very difficult to be yourself again when they leave. Genius.com says the verse “I have been so scared of losing / Like the smallest grain of sand” expresses that no matter how hard you try, even the most precious thing you have can slip out of your hands as a grain of sand.
I could love you like a swan would I could love you 'til the end Take my body, this I promise Won't let go of your hand I could love you like a swan would I could love you 'til the end Take my body, this I promise Won't let go of your hand If you meet me by the water You can always be my man If you hold me like he hurt me I will save you the last dance If you meet me by the water You can always be my man If you hold me like he hurt me I will save you the last dance Part of me is a part of you It's a part of me too Part of me is a part of you It's a part of me too Part of mе is a part of you It's a part of me too I could be the most dеserving Once you try to understand I have been so scared of losing Like the smallest grain of sand Part of me is a part of you It's a part of me too Part of me is a part of you It's a part of me too Part of me is a part of you It's a part of me too (A part of me too) (A part of me too) (A part of me too) (A part of me too) (A part of me too) (I'm further from you) (I'm further from you) (A part of me too) (A part of me too) (I'm further from you) (A part of me too) (I'm further from you) (A part of me too) (I'm further from you) (A part of me too) (I'm further from you) (A part of me too) (I'm further from you) (A part of me too) (I'm further from you) (A part of me too) (I'm further from you) (A part of me too) (I'm further from you)
Not the Only One: following up to what I said before, how can a person not notice how much you tried, even when they wronged you so badly? This song contains a somewhat unexpected plot twist if we consider the swan metaphor from the previous song. It’s about being in love with someone who doesn’t care about you as much as another one does. She hasn’t cheated on him, yet she can’t help but compare him to another man who truly sees her, is there for her, wipes her tears away and supports her. That’s why she confesses he’s not “the only one in her head”, but reassures he’s “the only one in her bed”. She affirms the only thing she’s capable of is constantly staying by his side, declaring that she will change her “mental behaviour” — meaning the non-physical infidelity — so as to fulfill all his needs, even when he doesn’t do the same thing for her.
Babe, you can't say I didn't try This pain, almost made me wanna die 'Cause you're not the only one in my head Yeah, that much is true But you are the only one in my bed I promise you Okay, I'll stay It's the only thing I can do I'll try to change Do all that you want me to But you're not the only one in my head Yeah, that much is true But you are the only one in my bed I promise you You don't see me like he do It's true (ooh) He calls me up when I cry in the night Why won't you? (Ooh) Yeah, he wipes the tears from my eyes Why won't you? Babe Yeah, he hears me out when I say I'm not okay Why won't you? Oh Baby, ah Oh Baby, ah 'Cause you're not the only one in my head Yeah, that much is true (ah) But you are the only one in my bed I promise you
Magnet: I think her soft voice here makes this track even more emotional than the lyrics alone could despite being so deep and visceral on its own. It mixes the need to be very near to him with the distance between them. Even though she’s left, she still holds him and tries to keep him close to her. For me, it uses the “magnet” to say that they’re opposite poles that attract one another. No matter how far away they are from each other, physics shows that an irresistible force ends up joining them together. She dreams about being with him because she knows in real life it is better for them not to be together anymore. In the end, it’s like saying that the energy or chemistry between them is what links them, but because of their completely different personalities, their souls never merge in the same way that their bodies do. She silently loves him, through stares, through dreams, through the trees — when the wind blows their leaves, they will murmur everything she sings for him.
In a dream, I will have you So far away, so far And I need to find you So far away, so far When I Ieave, I will hold you So far away, so far And I'll keep you close to me So far away, so far All the way down Like a breakdown Like a magnet Gotta have it In the trees, by your window So far away, so far They will sing my love for you So far away, so far All the way down Like a breakdown (and when I look to you) Like a magnet (it's what I like to do) Gotta have it (and when I look to you) All the way down (it's what I like to do) Like a breakdown Like a magnet Gotta have it
Vueltas: a song that would likely be loved by people of all ages and countries. It reminds me of Mon Laferte’s song “Nuestra Casa”. It includes a much more Hispanic rhythm, not only because the lyrics are written in Spanish, but also because of the instruments: a warm, acoustic guitar, trumpets and percussion by Brazilian musician Mauro Refosco’s. “Vueltas” means “Turns”, which refers to not being able to stop thinking about someone, since he won’t leave her mind. He’s always there, never really leaving or letting her let him go. It’s also quite a Hispanic thing to include the concept of “house” to represent nostalgia, since it’s well known that, in Spanish-speaking countries, people tend to be real homebodies and show their affection through cooking, sleeping together, making love in their beds, and developing a greater social consciousness by listening to the stories of their grandparents and mothers. Being willing to bring someone from outside into your home is a tremendous expression of love. However, a turning point occurs when she admits that maybe love isn’t enough and that she wants him to leave once and for all, because the only thing left for her is to love herself more and better. And to do that, she must kick him out of her house.
Y tú das vueltas en mi mente Y yo rezando que me sueltes Y Dios me dice que no puede ¿Por qué vives en mí? Corazón, corazón, corazón Si te vas, si te vas, ¿qué pasará? En mi hogar, en tu hogar, nuestra casa Si te vas, si te vas, ¿qué pasará? Dejarte ya Quitarte que no queda más que amarme más Amarme más en mí Sin ti, sin ti Y tú das vueltas en mi mente Quizás, amor, no es suficiente Te vas y te siento tan presente Porque vives en mí Corazón, corazón, corazón Si te vas, si te vas, ¿qué pasará? En mi hogar, en tu hogar, nuestra casa Si te vas, si te vas, si te vas Corazón, corazón, corazón (no quiero decirte) Si te vas, si te vas, ¿qué pasará? (no quiero mentirte) En mi hogar, en tu hogar, nuestra casa (quedate a mi lado) Si te vas, si te vas, si te vas Dejarte ya Quitarte que no queda más que amarme más Amarme más en mí Sin ti
Water On Your Nose: we can notice how the album’s rhythm starts to calm down in this song compared to the first tracks, where the melody is much more powerful — which makes it clear that the album is about to end. In this song she describes how she finds it so easy to love that person, to the point where it slides just like water in your nose in the summer while swimming. When she holds her own hand, she remembers how it felt when it was held by his. Her memories with him have not disappeared, they’re not fuzzy or faint; instead, she can still picture them together. She confesses she’ll always be there for him and, even if he doesn’t see her, he will notice her in the air. She wishes he would’ve stayed with her through the summer, but just like we saw in “Moment”, warmth caused the loss of love.
Stay with me through the summer Laugh with me again Every time I hold my hand I picture yours in mine, but I can't Every time I hold my hand Through the air Through the air I wish I could be honest (I want to say) I would have to die (for you, for you) Every time I hold my hand I picture yours in mine, but I can't Every time I hold my hand Through the air Through the air I'll be there Always be there I don't have to try to love you It comes easy to me I don't have to try to love you It comes easy to me I don't have to try to love you It comes easy to me I don't have to try to love you It comes easy to me
Slip: finally, we’ve reached the last song. Despite the ambient, peaceful melody, she’s begging him to protect her with his coat and retain her before they leave. She has tried to resist warmth, but she’s failed, and all that’s left now is to freeze together in time so as they don’t have to say goodbye and face reality. She wants him to slip into her, to blur the boundaries of their bodies and completely Melt with each other. She dares to “cross the lake beneath their feet”, taking on the risk that it could break and pull them down. She orders him not to go at the very same time she’s leaving, as if her lips said one thing while her body did the opposite, because she has to accept their fate.
Wearing your coat under the snow It's holding me close before we go Slip into you, slip into me Wearing us down under the leaves Don't go Don't go Crossing the lake beneath our feet When I was scared of falling beneath Slip into you, slip into me Melt in your hands, hearing me sleep Don't go Don't go Don't go Don't go
Throughout the whole album we see how the context, the metaphors, the transition from wintry melodies into warmer ones, and the lyrics about submitting to someone — every single part aligns perfectly with the title: love is melting until you both recreate a new creature.
Everything I have expressed here is genuinely special, inward and honest to me. I believe she — and the rest of The Marías — makes such lovely melodies that even the most beautiful words aren’t enough to describe them. Whenever I listen to her music and share my thoughts on it, I feel like I’m not doing it justice. The music she makes is so authentic and moving that my eyes even well up with tears when someone asks me how it makes me feel. I feel understood. I feel seen. It’s as if someone had taken my soul out of my body and thoroughly written about it.
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‘Not for Radio’ TOUR (picture from whirrwhoreforlyfee on Pinterest)
María sings about things I sometimes don’t realize I feel. She is my inspiration — for art, music, and fashion. I see so much of myself in her — in the way she speaks in interviews, the way she acts, feels, loves, and thinks. And the fact that we both share two languages — Spanish and music — makes it even easier to relate to her. She, just like me, believes that vulnerability is the most important aspect of being human and that love is based on supporting and choosing each other for a lifetime, unconditionally, at no cost.
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‘Not for Radio’ TOUR (picture from whirrwhoreforlyfee on Pinterest)
References:
Bedolla, D. (25 de septiembre de 2024).María Zardoya, Musician, The Marías. Into The Gloss.
Gómez Arenas, N. (30 de agosto de 2025).The Marías: la historia detrás de la banda que está redefiniendo el indie global. [El Generacional](https://elgeneracionalpost.com/cultura/musica/2025/0830/235505/the-marias-la-historia-detras- de-la-banda-que-esta-redefiniendo-el-indie-global.html).
Mendez, M. (12 de septiembre de 2024).María Zardoya está conectando mundos a través de la música. TIME.
NASA. (s.f.). Problems in Space Experts’ Solution. StarChild — NASA.
Not for Radio. (10 de octubre de 2025). Melt [Álbum]. Genius.
Not for Radio. (s.f.). Not For Radio [Perfil de artista]. Spotify.
