Showing posts with label Weyes Blood. Show all posts
Showing posts with label Weyes Blood. Show all posts

Friday, May 3, 2019

April 2019 MAME Playlist: Mellow ATL, DIY England and Troubled Toronto

So simple, so good.
Welcome to the April 2019 MAME Playlist post, which, in a better world, will be the last whale I produce. (Here’s to hoping future plans come together). I posted a 50-song playlist for the month (there’s more where that came from; username snackyd), and all the songs on that playlist are linked to somewhere down below. I highlight three artists (chosen more or less at random) down below - Faye Webster, Martha (the band, not a person), and Shad – by sharing some stuff about who they are, where they come from and what they do. The rest of the playlist is mostly random. Mostly.

I posted some other write-ups on some other artists earlier this month, and some of the songs by those bands stuck to this month’s playlist. You can read about them in those posts, which I’ve linked to under the names of each band, and I’ll list/link to the songs by each that I held onto for this playlist. Those include: Weyes Blood (mellow, airy indie with gorgeous vocals, “A Lot’s Gonna Change,” “Andromeda,” and “Mirror Forever”); Orange Goblin (metal from the hard rock school mostly, “The Astral Project,” “Magic Carpet,” and “Aquatic Fanatic”); and The Who (you know them, but the story behind Lifehouse is a doozy, “Whiskey Man,” “Pictures of Lily,” “A Quick One (While He’s Away),” “Relay,” “5:15,” and “Slip Kid”).

All right, time to look at this month’s playlist’s featured artists…in which I accidentally go from oldest to youngest.

Faye Webster, [Eponymous]
I think it was last month when Discover Weekly pitched Faye Webster’s “Room Temperature” my way. It’s probably part of the promotional push for Webster’s upcoming album, Atlanta Millionaires Club, and, between that and the still-better, “Kingston,” I have high hopes for that new release. But it’s not out yet (think it said late May, like, May 26), so I’m stuck with her 2017 eponymous album. The one with the understatedly freaking awesome album cover (see above).

Webster comes from Atlanta, Georgia, and a creative family (something I see a lot when researching musicians). Musically, she grew up on old country, but branched out into Atlanta-area local hip hop – specifically, material put out by Awful Records. That branching out eventually lead her to membership in a “rap collective” called PSA, and you hear both influences in her sound. Her choice of instruments that makes her earliest influences stand out more: “No matter what music I end up making I will always use pedal steel... It's in my roots. I love pedal steel.”

Wednesday, April 17, 2019

New to Me, No. 1: The Mellow Gold of Weyes Blood's Titanic Rising

From "Everyday." Solid call-back.
“Yeah, I am a special kind of clown. I make people cry.”

That came at the end of a video interview with Weyes Blood (aka, Natalie Mering) on AMBY (A Music Blog, Yea?), who’s as intelligent and thoughtful there as she is everywhere else. For those who don’t want to take the time to watch that, a reviewer on Pitchfork gets you even closer in one vivid sentence:

“She speaks coolly, even when you sense a surge of passion is running through every word, and her music plays a similar trick.”

I got to Weyes Blood when Spotify fed me Drugdealer’s “Sea of Nothing” (one of your weirder accessible tunes).Mering doesn’t even appear on that track, but her singular contribution on “End of Comedy” and “Suddenly” made both songs work better than the rest of End of Comedy (which I still recommend to the right people). It was the recent release of Titanic Rising (in 2019) and hearing “Everyday” (link below) that finally inspired me to dig in to, what turned out to be a longer than expected story.

Mering was born in Santa Monica, California (and I think she’s California-based now), but she landed in Philadelphia’s “noise rock” scene by way of growing up in a musical household in Pennsylvania – specifically in a band called Jackie O Motherfucker (sample of their more normal: ”Hey! Mr. Sky”) and Nautical Almanac (samples are rarer). While I didn’t hear much of Jackie O Motherfucker (only enough to walk away thinking “noise” is a terrible misnomer), I heard enough to make sense of why Mering’s first solo album as Weyes Blood – 2010’s Outdoor Room – sounds like it comes from a totally different artist than Titanic Rising.

The choices on Outdoor Room become actually puzzling to anyone who started on the wrong end of Weyes Blood’s catalog or the Drugdealer collaborations. Then again, a 2015 interview with Noisey describes what Mering was doing even five years later like so: