Weyes Blood began life as a DIY, acoustic venture, where Natalie Mering’s voice fluttered above a sound collage of tape recorders, saws, bells, and whistles. This is Natalie’s fifth album performing under the moniker. The opener could be on a spacier version of Bowie’s Station to Station: it’s not just that well-produced, it’s that sweeping. This album captures the mundane weight of life while wielding charisma and ornate instrumentation. It is an aural spectacle, if I may, but how can pain exist where this music does too? The postulation is that emotions run deep however numb we are, and, if we’re lucky, they stream into artistic clarity.
A favourite: ‘It’s Not Just Me, It’s Everybody’
26/30
‘And In The Darkness, Hearts Aglow’ is out now via Sub Pop.
100 words music reviews 