It is not difficult to smile in recognition to the period furniture in the flooded flickrummet that adorn the american Weyes Blood's fourth album. The burgundy carpet ties together the creaking, infinitely impractical, the head of the bed in metal and painted the desk in a basket and form a whole which absolutely screams the 80s. At a lower frequency are the dreams, channeled through a hefty stereo system, whose design has not aged particularly well.
At the beginning of the 2000s, Natalie Mering record their evocative and broken folkgoth on a self-carved instrument in a similar sovrumsscenografi, which, among other things, led to collaborations with Ariel Pink, another noise-lover.
Their first full-lenght album released Mering yourself and for each slice, she walked closer and closer to a more pure, organic 60-talsfolk and classic 70's pop but at the same time retaining the experimental elements of repetitive sounds. In virtually every song are something that osäkrar, which is disturbing.
come with the acclaimed album ”Front row seat to earth” (2016) and gave Weyes Blood a new musical resident of the record label Sub Pop, all american indieakters big dream. She has thus made a movement from flickrummet to finrummet in the musical sense, and therefore it is kongenialt that she is ”the Titanic is rising,” returning to the tonårstidens four walls. Several of the songs have lekts forward with the home-made harmony guitar from her early recordings, and wraps up the album – whose title is a nod to one of her younger natures absolute favorite movies – in the film rymdliknande ljudmattor.
In the opening track ”A lot's gonna change,” she sings; ”If I could go back to a time before now/before I ever fell down/Go back to a time when I was just a girl/when I had the whole world gently wrapped round me.”
The synthesizer-based ballad, and the first of the egyptians, indians, many songs that hold strings, to constitute an appropriation for the entire album and also puts the finger on the duality that runs through it. There are two sags in the text – on the one hand the personal experience of young people coming of age, and partly the realization that we live in a geological era in which human impact on the earth's ecosystems will become unsustainable.
which is also a one and a half minute long instrumental collage of distant, sacred sounds. In a interview remarks Mering the similarity between the wrecked ship and our time; it is we who are the ship, while the icebergs around us melts to eventually swamp entire countries.
Still is ”the Titanic rising” is not a depressing album. It is rather a grand setting of the fears and neuroses of modern life in the antropocen means. In the fragmentary ”Episodes” observe she avmätt popular culture, any romanticism of the right, mediocre reality, while ”Everyday” make storvulen pop of Tinderdejtandets supply and demand.
of Course, with a apart, far ljudcollage in the end.
Best tracks: ”Everyday”
Read more music reviews by Alexandra Sundqvist, for example, how Mathilda Brink update indierocken.