The last time the world heard from singer-songwriter Natalie Mering it was 2019, and Titanic Rising, her fourth album under the name Weyes Blood, was quite rightly being hailed as one of the year’s best. Titanic Rising’s sound was rich and very evocative of early 70s California. Its songs, however, were very much a product of the 21st century, marked by an pervading sense of imminent catastrophe, fuelled by an index of millennial worries that stretched from online dating to late capitalism and environmental collapse.
