The first thing you notice about Weyes Blood’s new album Front Row Seat to Earth is its closeness. The music is immediate and warm with intimate feeling. This disarming nearness draws out emotion from the album’s sound in evocative, bold colour. The lyrics serve not to obscure and mystify, but to perform, reveal, and take the listener inside. This is the folk music of the near future.
Natalie Mering, the being behind Weyes Blood, sings sublimely on Front Row... These are her words and she means them. Between the subtle pulses of her breath, we feel the textures of her voice. Her delivery is a trained low gloss, polished with the charm of speech. Mering embeds her song in a harmonic gauze of arpeggiated piano, acoustic guitar, druggy horns, and outer space electronics. Propulsive, spare drums carry us across the album’s course.
There is a faded California beauty to Front Row...: a gentle honesty that recalls the finest folk music made on the West Coast of the ‘70s. The hue hangs in the sweet-spooky harmonies, the pulsing sway of the vibrato, and the ecstatic chord resolves. It is the joyful release of energy as the song delicately unfolds from intro to extrospection.