“The Innocents” is the name of the second album by Natalie Mering, who performs as Weyes Blood. Its ten songs confront us with their truths.
There is the beauty of Ms. Mering’s voice, whose strength across two vocal registers reveals a vulnerability belied by some of her lyrics. On all but one of the songs on The Innocents, her voice is the dominant quality, tracked in multi-part harmonies with herself.
There is the semblance of training in her voice to get her to where she can sing today, or any number of devices we as listeners impose upon her, because most of us are not privy to a vocalist of such rare choral purity.
Then there is the truth of the words she sings on The Innocents, words so clear that they cannot be misinterpreted. It’s not unintentional that Weyes Blood is a colloquialism referring to Flannery O’Connor, though Mering doesn’t mince for words.
Forget similes and metaphors: when you are confronted with lyrics like those found on “Some Winters” (“I’m as broken/as a woman can be” … “Go on, leave me for the last time”), lyrics that are so emotionally unflinching that they could pierce stone, the notion of any other interpretations seem trivial.
And yet, you will try. As you sift through her words, you’ll feel something, and you’ll associate those feeling with past experiences that may cause you to associate them with something more, something that affects your own emotional state.
Finally, there is the truth of the music. Rooted in American and British folk, Weyes Blood pulls and stretches the style at its fringes, like a sweater that’s just begun to unravel.
Traditional instruments (guitar, piano, drums) are set against electronics and tape effects, collages and the melodic qualities of delay, that bridge an older world of songcraft into the future, creating a synthesis between all the best of the 20th century and those that came before.
Takeshi Nishimoto comes from a background as a guitarist, receiving classical training from some of the world’s premiere guitar players, while on the other hand he has been steadily growing into the more electronic music scene with a bunch of albums on CCO as I’m Not A Gun alongside John Tajeda.
Sometimes, Takeshi uses some really fine electronic methods to bend and shape the guitar and background atmospheres. Other times it feels like you are in the middle of a still picture from a forest lake in the Japanese countryside, slowly waking up together with the sun.
This event is presented by Digital in Berlin. Check out our Facebook page to win tickets.
Kometenmelodien w/ Weyes Blood + Takeshi Nishimoto
Wednesday, 18th February 2015 | 20:00 CET
Berghain Kantine | Am Wriezener Bahnhof | 10243 Berlin/Friedrichshain