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Titanic Rising Elevates Weyes Blood to Indie Powerhouse


Beauty is almost always in the eye of the beholder, as it’s been said-or at least written. For a good while, we’ve known about and loved the music of Weyes Blood. It’s always been intriguing while encapsulating more than the typical singer songwriter. With her new album Titanic Rising arriving this Friday, she takes all of her past musings and couples them with impeccable songwriting and top end arrangements to sculpt a masterpiece that never lets you down.

The album has a lot of movements that leave you unpacking so much after one listen. The songs hit with a force-an impact primarily made from two factors-the vocals and the instrumentation employed. Natalie Mering, the primary force within Weyes Blood has always had one of the most impressive voices in music, yet the instrumentation of this album finally props her voice up to the heights it was meant to be heard. The opening track “Lot’s Gonna Change” begins with organs chiming, though the piano that follows is more than enough for Mering’s voice to come in with the heft that makes you feel every note. The orchestral movements that follow give Mering enough space to hit the notes that keep her ahead of many of her contemporaries, while reminding some of us of the time when female vocalists were cherished and not made out like pop princesses.

That’s essentially the theme that flows throughout the album. It’s as if someone loved her voice enough to treat it with care, or if Mering is truly swinging for the fences with this alum, it definitely feels like it’s out of the park. “Andromeda” has these twangy moments that compliment Mering’s voice like the perfect pairing. “Everyday” has the kind of structure to fall into the Californian sunshine sound of the seventies without feeling like a relic. “Mirror Forever” has the kind of slow build you may expect, yet the stark nature of Mering’s voice on the track makes it stand up more than the typical, giving you just enough to hold on to.

Of course the standout tracks of the album are more of a mixture of sounds. “Something to Believe” has just enough of an upbeat stride to keep it playing in your head, though it contains a depth that cannot be paralleled. The way that “Wild Time” has an almost easy Sunday feel could mask the heavy instrumentation that flows throughout. It has weight, though it doesn’t get masked as the way it’s mixed lets the weight hang in the balance in a way that you don’t notice on the first time it gets played. With all of this, the biggest departure is “Movies,” though that’s not a bad thing. Weyes Blood navigates between electronica and torch song with ease, giving a playful nod to so many while stating the compunctious sides of daily life that we all feel. The entire album feels like notes from a diary that weren’t meant for consumption by public eyes, and we’re just lucky enough to get a glimpse into the pages before they were cataloged away.

You can stream the singles from Titanic Rising on all streaming sites or purchase them in all digital music stores. You can also pre-order the album directly from Sub Pop Records on multiple formats ahead of its release on April 05. Weyes Blood will be on tour tonight in Santa Cruz, CA at The Atrium at The Catalyst until June 13 in West Hollywood, CA at The Troubadour. A complete list of her upcoming appearances can be accessed here.

Image Credits: Photo by Kathryn Vetter Miller.

David Garrick

David Garrick has spent the last five years interviewing some of the most intriguing and engaging artists performing today. Everyone from Angel Olsen to Phoebe Bridgers, Wire to Yo La Tengo, Snail Mail to Soccer Mommy, Ghost to First Aid Kit, The Breeders to Protomartyr, and many more. He's a giant fan of music of pretty much any genre; but especially to the underdogs. He's been known to see more concerts in a week than many people will see in a year.


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