“Classical and Renaissance music really influenced me,” says Mering, who first picked up a guitar at age 8. The Weyes Blood frontwoman grew up singing in gospel and madrigal choirs. “I used to want to belong,” says the L.A. It’s an achievement in transcendent vocals and levitating arrangements-one she could reach only by flying under the radar for so many years. Titanic Rising, written and recorded during the first half of 2018, is the culmination of three albums and years of touring: stronger chops and ballsier decisions. Here, the throwback-cinema grandeur of “A Lot’s Gonna Change” gracefully coexists with the otherworldly title track, an ominous instrumental. It’s taken a lot of different tries to get it right.” As concept-album as it may sound, it’s also a devoted exercise in realism, albeit occasionally magical. I try to be futuristic and ancient at once, which is a difficult alchemy. “Sometimes you get all the dimensions-the lyrics, the melody, the production-to line up. “An album is like a Rubik’s Cube,” she says. “I just try to do that in a way that uses abstract imagery as well.” I’m a big fan of conversational songwriting,” she adds. “The clarity of Bob Seger is unmistakable. The former relays her imperative to connect with listeners. The latter captures the album’s willful expansiveness (“You can tell there’s not a guy pulling the strings in Enya’s studio,” she notes, admiringly). Tellingly, Mering classifies Titanic Rising as the Kinks meet WWII or Bob Seger meets Enya. Maneuvering through a space-time continuum, she intriguingly plays the role of melodic, sometimes melancholic, anthropologist. Natalie Mering) has, too, designed her own universe to soulfully navigate life’s mysteries. Through her latest, Titanic Rising, Weyes Blood (a.k.a. The phantom zone, the parallax, the upside down-there is a rich cultural history of exploring in-between places. Kinda crazy when you’re looking right through me For all the pain and things you’ve been through
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