weyesblood

Apparently, Natalie Mering chose the Weyes Blood moniker in homage to gothic writer Flannery O’Connor. The author’s disturbing tales of the grotesque are certainly a useful reference point for the Pennsylvanian singer-songwriter’s own haunted melancholia. Serviceably eerie song titles like ‘February Skies’, ‘Bad Magic’ and ‘Requiem for Forgiveness’ only reinforce the spookiness. The really scary thing about all of this, though, is Mering’s voice; a deep, full-bodied moan that sounds far closer to the androgyny of Nico than it does to any folksy songstress.

Tracked in multi-part harmonies with herself and armed with some unnerving lyrical couplets (“I’m as broken / as a woman can be”), Mering weaves her way around ten dark interludes of spectral psychedelic folk. The pastoral sounds of medieval instruments float atop bubbling brews of electronics, tape effects and sound collages, to brilliantly disorientating effect. Occasional missteps – the maudlin meanderings of ‘Bad Magic’ and the superfluous noise collage ‘Montrose’ – threaten to break Mering’s spell (or perhaps that should be curse?) but ultimately, we’re all powerless.

Stream the full album here.

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