Weyes Blood in the clip of “Generation Why”
You would have imagined another – Italian-style theatre ? Beach buffeted by the winds ? Steep cliff ? – to host the California Weyes Blood and his / her album pop symphony Front Row Seat To Earth, released in October, and which one is just recovering (and serious, then people aren’t exaggerating). But no, it is in the small room of the Space B, where they are more often seen groups of rock-garage – Weyes Blood was scheduled on Monday evening. And it was just wonderful. A relief, both Front Row Seat To Earth is one of our favorite albums of the year. To see it trampled in live would have had the same effect as getting the four wisdom teeth in one shot and without anesthesia.
On stage, Natalie Mering (Weyes Blood is a nod to Wise Blood, first novel of the writer Flannery O’connor, the figure of the Southern Gothic, see Wikipedia or your course in English literature), retains the same voice of a purity incredible. Closing gently the eyes, slightly open mouth, clutching the microphone in his hands, here it fades behind these sounds, navigating between the serious and the crystalline, the density of the forest and the calm of the surf, beyond its envelope body to be timeless and almost extraterrestrial (the meaning of the title of his album ? – that could be translated by “in The first rank in the face of the Earth” )
“What is the difference between a virgin and a washing machine ?”
Weyes Blood it is just beautiful to cry. It is delicate, it is pastoral even. As the chorus of the “tube” Do You Need My Love (“pom-pompompom-pompompompompom-pooom”, which you will follow until under the shower if all goes well).
Like all his texts, which conjures the romance put to evil – according to her at least – in our modern societies and hyperconnectées. As his pop landed the golden age of the seventies, whose orchestrations vintage and choirs celestial we grind the soul with the same strength as the rereading of wuthering heights by Emily Brontë. And yet, the strength of Weyes Blood comes from his refusal to be trapped in a first-degree old-fashioned, in a burst of nostalgic towards the fantasy of a bygone era, in the figure of the young romantic girl who consumerait love the look lost in the horizon.
Weyes Blood is a daughter of the past, the present and the future. A girl who makes jokes not funny (“What is the difference between a virgin and a washing machine ? The washing machine will not nag you for two weeks after you have filled”), and comments discomfort (“it’s a pity It’s not called the Space… finally it is true that it looks rather like a space B… “).
A girl who built her own identity away from the dictatorship of the cultural codes, and spatio-temporal, far from Internet also, which it seems to hold it in horror. A single identity, nor can it be copied or pasted, which is the effect of a breath of fresh air and confirms what we thought : his album is one of the most beautiful of this yet quite ugly year 2016. And the room, full to the brim, it is also well realized. We give him the floor very soon in a cool interview to discover at the end of the year.
>>Listen to the album on the Apple Music