beautiful voice, you're giving me goosebumps

Resplendent. The heart chakra is flowing, the flower is blooming

Life-changing in the way that Movies was the first time I listened to it and then some 🫶

Boys at School

Whatever Fits Together

And In The Darkness, Hearts Aglow

Twin Flame

God Turn Me Into a Flower

Grapevine

Beautiful music for ugly times. Music will save us all. Spread love and enjoy 

Elpidofos (Radio Edit) — a more focused cut of my debut single, created especially for radio and BBC Introducing.

The track captures the moment of leaving behind a safe but unfulfilling life to follow something more honest — the uncertain but true path of making music.
Written, performed, produced, mixed and mastered entirely by me, it blends ambient textures, organic electronic beats, progressive structure, and live trombone.

Elpidofos is a word I created inspired by Greek — meaning “the light of hope,” the quiet, persistent kind that rises when you finally choose yourself.
Thank you for listening and supporting this new chapter.

Elpidofos

Elpidofos-RADIO EDIT.wav

Psychopomp

Everybody Wants to Love You

Titanic Rising

Something to Believe

All Mirrors

Spring

Chance

Technological fatigue. Narcissism anxiety. A galaxy of isolation. These are the new norms keeping Weyes Blood (aka Natalie Mering) up at night and the themes at the heart of her latest release, And in the Darkness, Hearts Aglow (Sub Pop Records). 

The album is her follow-up to the acclaimed Titanic Rising. (Pitchfork, NPR, The Guardian admiringly named it one of 2019’s best.)  Where Titanic was an observation of doom to come, And in the Darkness, Hearts Aglow is about being in the thick of it: a search for an escape hatch to liberate us from algorithms and ideological chaos. “We’re in a fully functional shit show,” Mering says. “My heart is a glow stick that’s been cracked, lighting up my chest in an explosion of earnestness.”

And in the Darkness, Hearts Aglow opens with the wistful, winsome “It's Not Just Me, It's Everybody” — about the interconnectivity of all beings, but also the fraying of society around us. “I was asking a lot of questions while writing these songs. Hyper isolation kept coming up,” Mering says. “Our culture relies less and less on people. Something is off, and even though the feeling appears differently for each individual, it is universal.”

Other tracks follow in kind. The lullaby-like “Grapevine” chronicles the splintering of a human connection. The otherworldly dirge “God Turn Me into a Flower” serves as an allegory about our collective hubris. “The Worst Is Done” is an ominous warning, set against a deceivingly breezy pop melody. 

“Chaos is natural. But so is negentropy, or the tendency for things to fall into order,” she says. “These songs may not be manifestos or solutions, but I know they shed light on the meaning of our contemporary disillusionment.”

God Turn Me Into a Flower

Weyes Blood

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