Weyes Blood 'Titanic Rising'

The phantom zone, the parallax, the upside down—these liminal spaces have long fascinated cultures. With her latest album, 'Titanic Rising', Weyes Blood, the moniker of Natalie Mering, carves out her own universe to explore life’s mysteries. Moving through a space-time continuum, Mering becomes a melodic yet melancholic anthropologist. She describes 'Titanic Rising' as "the Kinks meet WWII or Bob Seger meets Enya," hinting at its ambitious scope. This blend of influences speaks to her desire for a connection as profound as it is expansive. Her admiration for Enya’s independence also shapes the album, which, like her own work, strives for sincere, unrestrained creativity.

Raised singing in gospel and madrigal choirs, Weyes Blood channels her cosmic origins into tracks like “Something to Believe.” This confessional, laced with slide guitar, brings her introspective yet universal style to the fore. Mering recounts how the 1997 film Titanic impacted her childhood, sparking a lifelong interest in themes of hubris and loss. She finds modern-day parallels in humanity’s unchecked reliance on technology, which chips away at happiness and attention spans. Yet Mering’s reflections, much like her sound, are more contemplative than bitter. “In my mind, my music feels so big,” she reflects. “I’m just making a bigger space for myself.” Her songs offer an invitation to listen and reflect—a personal yet universally resonant experience.