|Cardomon Times [EP] (2015)
Weyes Blood — Cardomon Times [EP] (October 9th, 2015)Ψ Haunted folky sounds from experimental multi–instrumentalist Natalie Mering.
Ψ Nejnižší známka minulého celovečerního alba The Innocents byla 7. Je to zemité melodrama z katakomb, které si zaslouží, aby bylo slyšet nad zemí. Weyes Blood gothic–kouzelná říše má tucet dalších dveří, které mají být otevřeny a je jen otázkou času, kdy toto album skončí ve vašich rukou.
Ψ Její přínos k letošní bohaté úrodě nových singer–songwriters je velmi významný. Ψ Natalie Mering stojí za to vyzvednout už jen kvůli “Take You There” samotné. Každé slovo vycházející z jejích úst v doprovodu jejich klávesů Roland, jak popisuje smrt, šílenství a melancholický únik, je pohlazením. Podceňovat fakt, že písně jsou pouze 4, je jako ohrnovat nos nad tím že právě tolik je světových stran.
Location: Kentucky ~ Bushwick, Brooklyn ~ Lower East Side, New York
Styles: deceptive complexity, early music echoes, dawn, dusk, summer into winter
Others/Podobnost: Angel Olsen, Anne Briggs, Buffy Saint–Marie, Karen Dalton, Julia Holter, Joanna Newsom, Cate Le Bon, aroma of Parfume Genius, Seaven Teares, Vashti Bunyan. Kašlu na ta přirovnání. Kontext je důležitý a vzdálená historie je magnetická, ale Weyes Blood to ví a zpívá o tom všem. Kromě toho vytahuje odkazy staré hudby v krystalické čirosti, jinak toto vše jsou jen moje reflexivně–orientační pokusy. A teď jdu zpátky na Cardomon Times.Album release: October 9th, 2015
Record Label: Kemado Records / Mexican Summer
1 Maybe Love 4:05
2 Take You There 7:41
3 Cardamom 4:35
4 In the Beginning 5:28
℗ 2015 Kemado Records Inc., d/b/a Mexican Summer
• Artwork by Shane Butler.
• Photo by Sam Fleischner.
• In 2015 we find the templates of love lurching over our shoulders, exoskeletons once inhabited with comfort. Are we, in our digital age, only being nostalgic as we search for the same idyllic love our predecessors have talked and written about so clearly? As the mediums of courtship change, does romance inherently change its meaning and function? As we gather new modes to function, are our old modes ‘outdated’ or just re–invigorated? In Cardamom Times, Natalie Mering (Weyes Blood) pronounces these questions clearly like a plea to know where we can once again find ‘timeless’ love.
• Different to the sprawling studio affair of Weyes Blood’s 2014 epic The Innocents, Cardamom Times was recorded onto reel–to–reel tape at Mering’s home studio in Rockaway Beach, New York. Like the area, which itself has recently been devastated by natural causes and is regaining it’s bearings, Mering has created a language of dystopian love. A place where hurt, comfort, past, and future are finding themselves together, not necessarily out of mutual affection, but because ‘this is the way things are.’
• As with her past recordings, these songs echo her flirtatiousness with the classics and of the avant–garde; channeling the domestic hymns of Sybille Baer through the lens of Baltimore’s recent experimentalism; the devotional drones of Terry Riley accompanied by the voices of the Sacre Coeur; the confrontational words of Anais Nin along with the warm embrace of St. Augustine. Mering’s search for true, timeless love, is accompanied by her caravan of ancestors who channel through her like spectres caught on magnetic tape.
• Using DIY recording techniques with a horde of equipment, Cardamom Times alters tropes of classicist folk arrangements with echo chambers, flutes, keyboards, and manipulated tapes. On Take You There she performs a stark and deep call of longing over minimalist organ, on “Cardamom” a secret infatuation is addressed through delicate guitar playing and flute. The instruments are both vintage and contemporary, piercing and soothing.
• On the cover of the record there is the image of a desolate paradise, a bay surrounded by rust; foliage embraced with decay. A couple is laying on the ground, motionless, caught in a comfort beyond time. They aren’t touching, they aren’t even necessarily open about their mutual affection, yet they are held within the moment. ‘Love is fate, an ocean. Only, how your nature moves in me. Your mind, feels so close to mine. Losing touch with time, you take me there. I’m so scared, you make me shine.’ Mering sings on Take You There. When love serves as an escape from the boundaries of time, where do we find ourselves when we have it?
• Cardamom is one of the most expensive spices by weight in our current markets, yet only a very small amount is needed to impart large amounts of flavor and aroma. It makes one wonder what it’s like to live in Cardamom Times; times saturated in jewels of sensory abundance. Weyes Blood’s newest foray provides us a glimpse of what this might feel like; to live in a space of timeless love and longing, surrounded by the decay of time that perpetually embraces us.
• Weyes Blood, apparently a play on Flannery O’Connor’s novel, is the vehicle for Natalie Mering, an avant gardish folkie from Rockaway Beach, New York. The four songs on Cardamom Times are the follow up to her acclaimed album The Innocents from last year and continue to find her in the folk hinterland, a strange mish mash of Nico’s Desert Shore, Judy Henske’s Farewell Aldebaran and Joanna Newsom’s strangeness.
• If this were a slice of vintage vinyl on some obscure label from the early seventies it would surely be worth a mint. As it is Mering delivers four songs backed by acoustic guitar, wind instruments and spectral keyboards with her voice soaked in echo adding an otherworldly feel. In fact the underworld, a cold and forbidding underground cathedral extending into eternity would be an appropriate setting for the EP’s lengthy centrepiece, “Take You There.” Here Mering intones over an organ like sound (manipulated methinks) summoning up a feel not dissimilar to Gavin Bryars’ Jesus Never Failed Me Yet. It’s chilling and chillingly addictive but is soon dispelled by the dappled folk delivery of “Cardamom,” a song that truly recalls bucolic folk from the sixties. There’s more psych folk on “In The Beginning” and again it’s a beguiling song; more layered than its predecessors it hums and throbs with that peculiar mix of woodland mythology and folk knowledge that marked out many of the artists who populate Rob Young’s book, Electric Eden. Perfect music for entertaining Ents and Elves.
Press: US: Shelby Sandlin — ;
UK/EU: Hannah Gould —
|Cardomon Times [EP] (2015)