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      Weyes Blood in Athens

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      September 23, 2019

      Monday   8:30 PM

      285 W Washington
      Athens, Georgia 30601

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      Weyes Blood

      with Helena Deland
      The phantom zone, the parallax, the upside down -- there is a rich cultural history of exploring in-between places. Through her latest, Titanic Rising (out April 5, 2019 on Sub Pop Records), Weyes Blood (a.k.a. Natalie Mering) has, too, designed her own universe to soulfully navigate lifes mysteries. Maneuvering through a space-time continuum, she intriguingly plays the role of melodic, sometimes melancholic, anthropologist.Tellingly, Mering classifies Titanic Rising as the Kinks meet WWII or Bob Seger meets Enya. The latter captures the albums willful expansiveness (You can tell theres not a guy pulling the strings in Enyas studio, she notes, admiringly). The former relays her imperative to connect with listeners. The clarity of Bob Seger is unmistakable. Im a big fan of conversational songwriting, she adds. I just try to do that in a way that uses abstract imagery as well.An album is like a Rubiks Cube, she says. Sometimes you get all the dimensions -- the lyrics, the melody, the production -- to line up. I try to be futuristic and ancient at once, which is a difficult alchemy. Its taken a lot of different tries to get it right. As concept-album as it may sound, its also a devoted exercise in realism, albeit occasionally magical. Here, the throwback-cinema grandeur of A Lots Gonna Change gracefully coexists with the otherworldly title track, an ominous instrumental. Titanic Rising, written and recorded during the first half of 2018, is the culmination of three albums and years of touring: stronger chops and ballsier decisions. Its an achievement in transcendent vocals and levitating arrangements -- one she could reach only by flying under the radar for so many years. I used to want to belong, says the L.A. based musician. I realized I had to forge my own path. Nobody was going to do that for me. That was liberating. I became a Joan of Arc solo musician.The Weyes Blood frontwoman grew up singing in gospel and madrigal choirs. Classical and Renaissance music really influenced me, says Mering, who first picked up a guitar at age 8. (Listen closely to Titanic Rising, and youll also hear the jazz of Hoagy Carmichael mingle with the artful mysticism of Alejandro Jodorowsky and the monomyth of scholar Joseph Campbell.) Something to Believe, a confessional that makes judicious use of the slide guitar, touches on that cosmological upbringing. Belief is something all humans need. Shared myths are part of our psychology and survival, she says. Now we have a weird mishmash of capitalism and movies and science. There have been moments where I felt very existential and lost.As a kid, she filled that void with Titanic. (Yes, the movie.) It was engineered for little girls and had its own mythology, she explains. Mering also noticed that the blockbuster romance actually offered a story about loss born of mans hubris. Its so symbolic that the Titanic would crash into an iceberg, and now that iceberg is melting, sinking civilization. Today, this hubris also extends to the relentless adoption of technology, at the expense of both happiness and attention spans.The track Movies marks another Titanic-related epiphany, that movies had been brainwashing people and their ideas about romantic love. To that end, Mering has become an expert at deconstructing intimacy. Sweeping and string-laden, Andromeda seems engineered to fibrillate hearts. Its about losing your interest in trying to be in love, she says. Everybody is their own galaxy, their own separate entity. There is a feeling of needing to be saved, and thats a lot to ask of people. Its companion track, Everyday, is about the chaos of modern dating, she says, the idea of sailing off onto your ships to nowhere to deal with all your baggage.But Weyes Blood isnt one to stew. Her observations play out in an ethereal saunter: far more meditative than cynical. I experience reality on a slower, more hypnotic level, she says. Im a more contemplative kind of writer. To Mering, listening and thinking are concurrent experiences. There are complicated influences mixed in with more relatable nostalgic melodies, she says. In my mind my music feels so big, a true production. Im not a huge, popular artist, but I feel like one when Im in the studio. But its never taking away from the music. Im just making a bigger space for myself.

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