“Weyes Blood plumbs new depths and produces a masterpiece on new LP”
“Natalie Mering’s work under the name Weyes Blood feels less like a catalog of music and more like a journey. And each time she releases a full-length album, her destination comes a little more into focus. That’s especially true on her new record Titanic Rising, which finds Mering edging her peculiar psych-folk closer than ever to the sound of traditional pop music. For someone with a documented p”
“Weyes Blood comes through with an immaculately produced and performed baroque pop album in Titanic Rising.”
“Natalie Mering’s fourth album is a grand, sentimental ode to living and loving in the shadow of doom. It is her most ambitious and complex work yet.”
“Natalie Mering’s fantastic fourth album ends where it begins. As Weyes Blood – who since her 2016 EP ‘Cardomom Times’ has woven lush chamber pop around heady, heavy themes such as contemporary dystopia – she’s no stranger to conceptual complexity. And yet this rarely comes at the cost of her Carole King-style piano ballads, which are rich and instantly familiar. So although this fourth record open”
“Natalie Mering’s sound has slowly evolved over the course of three albums and hook ups with Jackie-O Motherfucker and Ariel Pink. On ‘Titanic Rising’, her fourth release under the Weyes Blood moniker, the LA-based musician has drifted further away from the psych-folk and ’70s Laurel Canyon of her early years and towards soft rock. It’s a move that sees her scoring increasingly sophisticated self-”
