Weyes Blood - And In The Darkness, Hearts Aglow [CD]

Sub Pop Records

£13.77

Format: CD
Catalogue No.: SPCD1485
Barcode: 098787148527
Release Date: 18 Nov 2022
Genre: Alternative

Gatefold jacket with custom dust sleeve and two-sided poster

Track listing:
It's Not Just Me, It's Everybody
Children of the Empire
Grapevine
God Turn Me Into a Flower
Hearts Aglow
And in the Darkness
Twin Flame
In Holy Flux
The Worst Is Done
A Given Thing

Long-awaited follow-up to Weyes Blood’s 2019 breakthrough album Titanic Rising.

And In The Darkness, Hearts Aglow was co-produced by Weyes Blood and Jonathan Rado, with engineering by Andrew Sarlo (Big Thief), and additional instrumentation by Meg Duffy (Hand Habits) and Mary Lattimore.

Titanic Rising earned placement on over 100 year end lists in 2019 including The AV Club, Pitchfork, NPR Music, Stereogum, Brooklyn Vegan, Under the Radar, and Uproxx. The album also saw “Best of the Decade” placement from the likes of All Music, The AV Club, Aquarium Drunkard, Pitchfork, PASTE, and Uproxx.

On Spotify, Weyes Blood has 257k followers, 1.1 million monthly listeners.

Extensive press and radio album campaigns begin September 13, 2022.

Hometown: Los Angeles, CA

Technological agitation. Narcissism fatigue. 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. The celestial-influenced folk album is her follow-up to the acclaimed Titanic Rising. (Pitchfork, NPR, and The Guardian admiringly named it one of 2019’s best.) While Titanic Rising 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,” a song about the interconnectivity of all beings, despite 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 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.”