Reviews

Weyes Blood
Titanic Rising

(Sub Pop)

6/10

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-harmonisation and layers of strings that, at times, sound like they’ve been drawn from Hollywood’s Golden Age of cinema. This is particularly evident on the swirling psych-pop arrangements on The Beatles-y ‘Everyday’, on which she ponders the media myth of true love.

These swooning textures have formerly been offset by ripples of sonic dissonance but here they’re kept to a minimum: the background scraping on ‘A Lot’s Gonna Change’ and the rippling synth on ‘Movies’. A slow-burning highlight, this latter turns into Julia Holter-style experimental pop while the melancholy in her voice – which is like the rebirth of Karen Carpenter – marks a gentle sea change in the album’s mood.

Although still luxurious, the second half admits the welcome presence of downbeat shadows that conclude with the short, baroque instrumental ‘Nearer To Thee’.

Loud And Quiet needs your help

The COVID-19 crisis has cut off our advertising revenue stream, which is how we’ve always funded how we promoted new independent artists.

Now we must ask for your help.

If you enjoy our articles, photography and podcasts, please consider becoming a subscribing member. It works out to just £1 per week, to receive our next 6 issues, our 15-year anniversary zine, access to our digital editions, the L&Q brass pin, exclusive playlists, the L&Q bookmark and loads of other extras.