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Alternative en Indie - Verschenen op 5 april 2019 | Sub Pop Records

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Much like the band that rises above the icy, raging waters in Gavin Bryars' pivotal 1970s experimental piece The Sinking of the Titanic, Natalie Mering is fully aware of everything that's gone wrong with the world on her fourth Weyes Blood album. And yet she doesn't let the trappings of technology and our woeful alone/together world pull her down into the depths of an unshakeable depression. The singer/multi-instrumentalist/producer is too busy making widescreen anthems instead, ones that ride the line between AM radio dials and slightly more alien sounds: the queasy intro of "A Lot's Gonna Change," the gurgling synths of "Movies," the palate-cleansing ambient pads of "Titanic Rising." Sweet but never saccharine, tracks like "Something to Believe" and "Wild Time" are downright triumphant by the time they fade to black. They reach for the heavens with their hooks even when they let their guard down lyrically. Because if the ship's going down, at least we're all going down together right? © Andrew Parks / Qobuz
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Alternative en Indie - Verschenen op 21 oktober 2016 | Mexican Summer

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Front Row Seat to Earth is Weyes Blood's second full-length album for Mexican Summer, following 2014's brilliant The Innocents. As with that album, here singer/songwriter Natalie Mering continues to refine her psychedelic folk-pop sound, placing less of an emphasis on experimentation and spotlighting her stunning voice and introspective, poetic lyrics. The album was co-produced by Mering and Chris Cohen, and like his solo albums on Captured Tracks, it nods toward vintage soft rock production, managing to sound highly detailed and sophisticated yet relaxed. This is Mering's most direct-sounding album by far -- the grandiose, billowing arrangements and echo-drenched tape manipulations present on previous Weyes Blood albums are largely absent here. It's still somewhat spacy and ethereal, but it sounds significantly less trippy. It's not stripped-down or minimalist, however; the songs slowly unfold and bloom with lush keyboards and horns, and they often flow past the five-minute mark. The songs all keep to a calm, unhurried pace, but stand-out "Do You Need My Love" has a slightly busier rhythm, driven into a hypnotic midsection by impressive drumming and Lennon-esque pianos. Mering's singing has never sounded lovelier or more pristine than it does here, and her yearning lyrics are at the forefront of these elegant compositions. The lyrics are generally about the uneasiness of change and facing one's fears -- "Away Above" contains the lyric "I'll bring your worst fears if you bring mine." Mering laments heartbreak and hesitantly looks toward the future -- on another of the album's highlights, "Generation Why," she sings "It's not the past that scares me/Now what a great future this is gonna be." The album concludes with "Front Row Seat," a brief collage of distant pianos, eerie strings, and operatic vocals which hearkens back to Mering's more abstract earlier work. © Paul Simpson /TiVo
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Alternative en Indie - Verschenen op 20 oktober 2014 | Mexican Summer

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Rock - Verschenen op 9 oktober 2015 | Mexican Summer

"The playing is patient and assured, and you can't say enough about her voice, a dusky, soulful soprano that draws you into her world as well as into a larger tradition." © TiVo
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Alternative en Indie - Verschenen op 5 april 2019 | Sub Pop Records

Much like the band that rises above the icy, raging waters in Gavin Bryars' pivotal 1970s experimental piece The Sinking of the Titanic, Natalie Mering is fully aware of everything that's gone wrong with the world on her fourth Weyes Blood album. And yet she doesn't let the trappings of technology and our woeful alone/together world pull her down into the depths of an unshakeable depression. The singer/multi-instrumentalist/producer is too busy making widescreen anthems instead, ones that ride the line between AM radio dials and slightly more alien sounds: the queasy intro of "A Lot's Gonna Change," the gurgling synths of "Movies," the palate-cleansing ambient pads of "Titanic Rising." Sweet but never saccharine, tracks like "Something to Believe" and "Wild Time" are downright triumphant by the time they fade to black. They reach for the heavens with their hooks even when they let their guard down lyrically. Because if the ship's going down, at least we're all going down together right? © Andrew Parks / Qobuz
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Alternative en Indie - Verschenen op 22 oktober 2019 | Sub Pop Records

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Alternative en Indie - Verschenen op 7 september 2017 | Mexican Summer

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Alternative en Indie - Verschenen op 10 mei 2011 | DARK JUICES

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Alternative en Indie - Verschenen op 4 april 2021 | Sub Pop Records

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Rock - Verschenen op 26 augustus 2015 | Mexican Summer

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Alternative en Indie - Verschenen op 19 maart 2019 | Sub Pop Records