Album Review: Hearts Sold Separately by Mariah the Scientist
Mariah the Scientist’s new project promises the rare thrill of hearing an artist wrestle with questions she refuses to answer for anyone but herself.
Science was Mariah Amani Buckles’s first plan. She earned a biology scholarship and left high school early to study at St. John’s University with ambitions of becoming a pediatric anesthesiologist. Songwriting was a hobby; she would write poems and verses in her dorm and, as she later explained, once made a Valentine’s Day song for her boyfriend because “he loved them so much he told me I should put them out.” When those songs began drawing attention on SoundCloud, she left school, told only her mother, and didn’t return for her belongings. The stage name “Mariah the Scientist” came from that fondness for biology; she said she loved science for its focus on discovery and saw parallels with music because it allowed her to “experiment with different sounds and styles.” That sense of experimentation and a practical lyrical voice influenced by her realist father are the through‑lines that link the jagged romantic vignettes of her early releases to the soldier‑themed art of her fourth album, Hearts Sold Separately.
By mid‑spring, Mariah found herself with an unexpected breakout hit. “Burning Blue,” released in May and produced by Jetski Purp and Nineteen85 (with the use of Justin Timberlake’s “Until the End of Time” drum pattern), balances restraint with an undercurrent of combustion. The lyrics balance imagery of fire and frost. She opens with “I got that blue fever/Cold as ice ‘til you came near,” casting herself as a detached figure whose icy persona is thawed by a fire‑breathing lover. She cautions that appearances deceive—“But it don’t burn how it appears”—and in the chorus she lets vulnerability seep through physical sensations: “My cold sweat dripping everywhere/I’m all wet/I don’t even care as long as you’re right here laying in my bed.” The second verse proposes conditional loyalty (“As long as you’re a true leader/Then I’ll oblige”) and warns that betrayal will be met with equal force. She sees herself as a small, loyal figure in an uneven war of love, ready to defend devotion yet aware that any misfire could leave her dismembered.
With “Rainy Days,” her singing in the track is soft, almost contemplative, emphasizing her emotional state without needing to raise her voice. The emotional weight is carried in how she delicately stretches out the phrases, letting the melancholic tone breathe with each word. But “More” is subtle and airy, built around mellow synths and a slow, floating ‘80s-inspired rhythm. She reflects on past connections and moments of loneliness that carry a sense of reflection on relationships, mistakes, and the need for personal fulfillment beyond fleeting connections. The production on “Eternal Flame” follows the same vein, which is dreamy and sparse, blending ethereal synth layers with reverb-soaked instrumentation. She draws from the metaphor of a flame to symbolize an enduring connection that lingers even after a relationship has ended.
Mariah the Scientist leans into yearning lyricism centered on deep emotional desire and a push-pull dynamic in love. “All I Want + In Pursuit” is smooth and ambient, with gentle synth pads and a laid-back feel. This balance between lean production and emotional vocal delivery builds a sense of intimacy, letting the listener feel like they’re inside the quiet moments of reflection Mariah conveys. While “Like You Never” leans on directness, with an almost conversational tone, this doesn’t stand out compared to others sonically, as she asks to be loved as if she’s someone entirely unknown or untouched by past mistakes. However, in the first part on “United Nations,” she uses references to higher ideals like peace and global unity, reflecting a sense of longing for clarity in a chaotic emotional landscape. In “1000 Ways to Die,” the vocal performance shifts toward more intimate confessions, as she sings about betrayal, unfaithfulness, and heartbreak.
There’s an emotional shift between vulnerability and resignation as she reflects on the pattern of getting attached to the wrong people. The idea behind the album’s standout track, “No More Entertainers,” appears to highlight a desire to break free from that cycle and steer clear of individuals who manipulate her emotions instead of providing genuine connections. Mariah opens “Is It a Crime” by reflecting on feeling misunderstood: “Sometimes I look around for someone who might understand it/I seen it in they eyes that they’ll never get it.” Kali Uchis replies, “Is it a crime? How’s it a crime? No/‘Cause if loving me is jail, then you’re my prisoner/So let me throw away this key ‘cause you won’t give me up.” Their verses trade perspectives on the vulnerability of loving without apology. The duet continues Mariah’s momentum and introduces another lens through which to examine the album’s theme: love may imprison, but both singers choose to hold the key.
All her projects have been concise—ten or fewer songs—but each builds a distinct universe. Master introduced the self‑critical songwriter grappling with resentment; Ry Ry World showcased ferocity and a fearless panoramic perspective; the Spread Thin EP distilled independence and vulnerability; To Be Eaten Alive created a cinematic stage for love and revenge. Now, with a plastic soldier on the cover and songs that balance coldness and heat, Mariah tackles loyalty, war, and resilience in relationships. Instead of hiding behind conceptual tricks, she places a simple toy in the frame and invites us to decide how much of themselves they’re willing to sell. Her insistence on making music that feels honest rather than over‑explained suggests that even as she’s not the strongest vocalist and her popularity grows, the core scientific impulse—to experiment, to observe, to learn—remains.
Solid (★★★½☆)
Favorite Track(s): “Is It a Crime,” “Burning Blue,” “No More Entertainers”