WE L♥VE Series
WE L♥VE Series
— from New York —
*Highly, highly. . .
Folk, haunting, antique, futuristic, austere, experimental !
Weyes Blood answer the Questions of Doom
What are the secret origins of Weyes Blood?
Weyes Blood is an open book, but if you insist there are secret origins I'm sure there certainly are, behind the curtains.
Weyes Blood. Is that really 'Wise Blood' in disguise? Are you under the influence of Flannery O'Connor?
Weyes Blood is a misfangled version of Wise Blood. I have been under the influence of Flannery O'Connor and other gothic southern writers, Yes.
You recently were handpicked to play with Quilt? What is happening in Philly? Do you feel its come to represent at the musical party?
Philly has its own special musk--there's definitely been something in the air there for quite sometime, the atmosphere of Pennsylvania is pretty humid and accumulative, Gettysburg is a suction cup for ghosts and I think it some ways Philadelphia has a similar historical population--and this is reflected in lots of its music, there's some out-of-time/otherworldliness about it. I can't tell you whats happening there exactly as I don't live there.
Your sound has an almost clockwork, Harry Partch like texture with it? Was that intentional?
Most definitely, I have always been very inspired by Partch's music,and used to approach it more like he did, building instruments and composing with made up tunings and scales. He had a very big influence on me...I thought he was the cream of all the composers, in some ways. Then I discovered standard tuning and Olivier Messiaen.
You have a very unique voice like Catherine Riberio - almost -guttural, emotional and very soulful, what do you feel are your vocal influences?
Catherine Ribeiro is definitely one of them, the first time I heard her music it really floored me. One of my recent favorites is Bryan Ferry, for his vibrato and his atemporal influences. Stevie Wonder has a real gushing quality to his vibrato, his voice is healing, probably one of my favorite singers of all time. I like the way people
used to sing in the first half of the 20th century, it just sounded like buttery gold pouring out of their lips. I love rockabilly, real oldies, and early soul. The vocals in that music have a quivering/unhinged quality thats so moving I can feel them in my chest. I really crave that quality in recent vocalists--it seems soul in the mainstream is now considered this over stylized weird growling thing where people don't even sound like their speaking voice, some people can do it really well while others sound ridiculous trying to emulate it. You can hear when vibrato is natural, when somebody's
voice is using them and not the other way around.
Your video for Candy Boy is kinda creepy. Is that intentional? Its like they are VHS Tapes, that were rescued from the Goodwill, bough ton spec, and released as your video. What was your aesthetic for the
The creepiness of the video is only as intentional as you think it is. I made the video using an over the shoulder vas video camera, in a really strange beach in Maryland with a small crew of close friends. The entire area is surrounded by a heavy swamp zone that's known for strange gaseous/light phenomenons, we all got eaten alive by massive
insects upon our arrival, some of us were bleeding. The symbols can be broken down into: the white death, the black knight, and the golden mirror. The song is about falling in love with somebody you know you're not supposed to, and all the archetypes that draw you into those situations, the torment and mystery of attraction. Candy boy is
literally a boy that's sweet but lacks the real nutritive forces of sustenance, can make you sick if you eat too much. The flashes of "father" and "son" in the cloth floating in the water represent the of female relationships with men that create vortexes of strange energy--sometimes a man can feel like a father which can be oppressive, sometimes a woman feels like their mother which can be draining. The white death is symbolic of the flesh, and sex, the things that may keep you in bondage to your poisonous lover. The black knight represents some subconscious savior, internal forces that protect you from being enslaved. The golden mirror is neutral, the reflective force that exposes the pattern of self.
What do you feel your perfect aesthetic and manifesto for Weyes Blood?
I try not to think of it too much. Only record to record. If I had a map of the entire unfoldment I'm sure I could come up with more aesthetic terms to describe what my music means, but I'd prefer for it to stand for itself and fall into its place overtime. I also don't think manifesto and aesthetic should be considered the same thing--they are different and can be wholly independent of one another. Substance in an artists message certainly trumps their aesthetic for me. Certainly having a look and style about you is unavoidable, as we all make aesthetic decisions, but the manipulative
use of aesthetics in advertising makes them untrustworthy in my mind, and an unappealing place to start when describing yourself. I could be misinterpreting what you're implying with that word---that word is loaded.
Are you writing songs for your follow up to the NNF debut?
Yes, finishing up the second record now.
What do you feel the greatest misconception of your work has to be?
That I'm trying to sound like some other female musician who already exists.
What is the difference between Weyes Blood live, and Weyes Blood on record - do you have trouble recreating the fantastic sounds of record, in a live setting?
Live can actually be more rewarding, I feel more the opposite conundrum of not being able to capture the soul escaping as it does when you're live and vulnerable in front of audiences on recordings. I sing the best when I'm in front of certain crowds or people, it can draw out my voice in ways that exceed my understanding or control of it. There's such an overabundance of recorded music these days that the process becomes so tight lipped. There's so much effort that goes into making sure its "worth it", not exhibiting any recent trends of disposability. Thinking too hard can thwart the process of soul escaping. Its a fine balance.
Who should we be listening too?
RUSSIAN TSARLAG, true genius of our times.
Natalie Weyes Blood (Weyes Bluhd) has existed in the grime-ghost fringe-music catacombs since at least 2006, starting as a conventional folk singer in an unamplified universe, then transforming into a more a crouched/hieroglyphic electronic chasm style, culminating in a European tour with Axolotl. After two seasons of hibernation and a relocation to Baltimore, she materialized her ‘Blood In Bluhd Out’ evolution and began writing/playing the darkly haunted narcotic drifter ballads that make up The Outside Room, her first official full-length. The entire album was recorded, mixed and produced by Mering herself, then mastered by good friend Graham Lambkin. The record has shadows of The Shadow Ring in the oddly creaking ambient sounds and stark, nuanced production, which lend the eerily beautiful neo-Nico death-folk laments a more modern, art-skewed sheen. There’s still echoes of her old drone/tape-ghost-clouds moods on tracks like “In The Isle Of Agnitio” and the long, bells-laden outro to “Romneydale,” but the bulk of the LP is swooning and sweeping, with Natalie’s gorgeous, quasi-Teutonic vox leading the way. A subtly mesmerizing long-player, very “out of time,” and strangely untouched by contempo influences.