It had been hinting at clues for a few years already, but Titanic Rising (2019) was the general reveal of talent with an artwork by Weyes Blood, a creator set after California singer-songwriters of another time. pop march and getaway spots. astral A delicacy that preserves all its splendor in this relay that comes out of the darkness, And In the Dark, Hearts Shine, it’s like giving us an attempt at a collective embrace.
In the opening song It’s Not Just Me, It’s Everybody, which is the progress of the album (in September), we can perceive it like this: the unorthodox bet as a single, the “overwhelming changes” with which we had a comfortable half-time break of more than six minutes and the perception of “we are all / even alienated from ourselves”. thinks out loud. From the very beginning, Weyes Blood captivates with the beauty of her voice (with echoes of singers like Carly Simon or Karen Carpenter), her warm and natural beauty, and here they merge into a harmonious spiral that you wish would never end. With the results on that emphatic line we stated: “It’s not just me / I guess the whole world / Yes, we all bleed the same way”. In Titanic Rising, Natalie Laura Mering (Santa Monica, California, 1988) spoke to us about climate change, the cracks in capitalism, and the crisis of romantic love, but here she gives us a balm in the face of global confusion, derived alienation. from the algorithms and loneliness that the pandemic has forced and that continues to float like an organic scourge. This is the second installment of a trio of recordings that, as he himself says, should theoretically result in his most promising work.
Optimism in low hours
For now, the burden of optimism is modest: “They say the worst is over / but I think it’s only just begun”, fearlessly repeated in one of the most captivating songs, The Worst Is Done, evoking ghosts. viral nightmare. But, even if he makes the most terrifying prophecies, the world will always be better off with the music of Weyes Blood, tugging at the piano halves played by enchanted harps (Children Of The Empire). coded Lynchian halo (God Turn Me Into A Flower) or crescendo to synthetic pop (Twin Flame).
Songs whose authors wish to connect with the listener and, so to speak, the cosmos, given their transcendent aspirations. In Hearts Aglow, he describes saving art to greet us when the world pauses, with “hearts glowing” “revealing in the tide” in a magnificent orchestral anthem. Let’s enjoy its magic and neat handwriting: It seems the world won’t be ending this weekend.