Weyes Blood, holy water

Natalie Mering's 4th album is as grandiose as Titanic. Hopefully they won't share endings...

By Marc Zisman | Video of the Day | April 22, 2019

Possessing a voice that fuses Karen Carpenter, Rufus Wainwright and Julia Holter already puts you in a powerful position. But Natalie Mering (aka Weyes Blood) does not abuse her super-power. With such gifts, the thirty-year-old Californian has naturally shifted into a large pop sound that is filled with melancholy. It has a timeless seventies-like sound, orchestrated and refined with Jonathan Rado of the band Foxygen.

But behind all the sophistication of her bursting fourth album, Mering’s intentions are serious. Because, in addition to being the ill-fated ship on the night of the 14th-15th April 1912, the Titanic of her ambitious Titanic Rising also represents the world, our planet, of which she sings of an impending end. It is a recurrent theme in the music of 2019 but one that Mering carries with grace, serenity and a glimmer of hope. Our world is doomed. If Trump clings to 1600 Pennsylvania Avenue in Washington then we are all done for, but music of the likes of Weyes Blood is here so that such times of hardship can be made bearable, possibly even escapable!

Others often unload words of cynicism and sometimes disturbing critiques; Weyes Blood prefers an elegant form of nostalgia (Movies), of poetry (Something to Believe) and of benevolence (A Lot’s Gonna Change). Majestic.


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