The muses of La Musa: Weyes Blood

Though Natalie Mering, who performs and records as Weyes Blood, chose to distort her project’s name (giving “Wise” an appropriately outré, olde feel) with a nod to the ocular (w’eyes), her entire output thus far has been an exercise in exploring the atemporal. She is a musician, a singer, after all, but the particular process of Weyes Blood’s development, and Mering’s experimentation with everything from early 2000s local-noise-scene strangeness to her present mastery of timeless balladry, highlight her as an meticulous sonic alchemist.

Weyes Blood’s new album, Front Row Seat To Earth, captivates immediately with its frank clarity in both sound and word. Though still retaining a deep influence of the classical often felt in her songs as a sense of ancient resonance, Mering is at her most intimate and vulnerable here, due in large part to her stunning vocals and simple, essential lyrical phrasing. Tonight in concert at sala Sidecar.

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