María Márquez


by Deanne Sole

22 April 2013

cover art

María Márquez


US: 19 Mar 2013
UK: 19 Mar 2013

This Venezuelan-born US-based singer has a deep voice in the way that Brazilian women singers—especially—can have deep voices, low without being husky, rich, vibrating slightly to show emotional pain where the lyrics call for it (“Déjame”). The album is low-key and steady, no attention-grabbers, just a multitude of smaller moments embedded in the larger body, a sensational gruntle from a tough little Venezuelan cuatro on “Caramba”; that thing sounds almost human. Hernan Gamboa the cuatro player has his name next to a number of these tracks as a co-arranger. Both he and Márquez keep a current of murmuring Venezuelan folk running through the whole thing, with some sidesteps into a more North American idiom (“Wild Card”, jazz) and one completely Brazilian moment with her version of João Donato’s “Amazonas”. This is the point when I realized how low-key the rest of Tonada was, because the album seemed to open its eyes and develop a more complicated personality when the Brazilian song came in. Just brashness maybe. But it seemed more awake.



We all know how critical it is to keep independent voices alive and strong on the Internet. Please consider a donation to support our work. We are a wholly independent, women-owned, small company. Your donation will help PopMatters stay viable through these changing, challenging times where costs have risen and advertising has dropped precipitously. PopMatters needs your help to keep publishing. Thank you.

//Mixed media


"No Dollars in Duende": On Making Uncompromising, Spirited Music

// Sound Affects

"On the elusive yet clearly existential sadness that adds layers and textures to music.

READ the article