- CD 311862
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.