Songwriter Natalie Mering released Front Row Seat to Earth, her fourth record under the Weyes Blood moniker, on October 21st. Mering began her career in the world of experimental music and noise by playing with Jackie-O Motherfucker. From there she started her own project, originally called Weyes Bluhd, and would eventually tour Europe with Brooklyn’s Axolotl and collaborate with Ariel Pink.
With so much time spent performing with experimental musicians, it’s no surprise that much of Weyes Blood’s output has an experimental bent to it. Front Row Seat to Earth turns away from the experimental in favor of a more personal sound. The record pulls from the folk-pop sounds of the 1970s, but its tracks take more time to unfurl. They aren’t quick and easy bites of pop.
The music on Front Row Seat… has an eerie, hypnotic quality to it. There is a darkness to the record that undercuts the cheer. It takes the singer-songwriter tradition and incorporates electronic elements, giving the music a sense of alienation.
Mering embraces the contradiction and, as her biography puts it, “affirms the conflict of harmonious life within a disharmonic world.”
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