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Titanic Rising

Weyes Blood

Titanic Rising

Fourth album of indie folk from the Santa Monica-born singer-songwriter Natalie Mering co-produced with Foxygen's Jonathan Rado

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Sub Pop
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  1. 10.0 |   Mojo

    Titanic Rising is a revelation. These opulent, sculptural songs have sacrificed none of Mering's idiosyncrasy, or ability to unnerve. Print edition only

  2. 10.0 |   The Independent

    The artist, whose real name is Natalie Mering, accompanies her instrumental idiosyncrasies with strong, luscious melodies and unfussy lyrics
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  3. 9.5 |   The Line Of Best Fit

    Titanic Rising is a new thing, her own stamp on the world. Like all the best musicians and songwriters before her, she’s plumbed the depths of her imagination and brought forth a masterpiece from the depths
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  4. 9.1 |   Paste Magazine

    Titanic Rising doesn’t feel blissfully adrift. Instead, it feels like Mering knows exactly where she’s going
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  5. 9.1 |   A.V. Club

    Rado’s opulent production gives the experience of listening to Titanic Rising—particularly on headphones—the feeling of being enveloped in sound, insulated from the outside world like an astronaut looking down at the earth through layers of atmosphere
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  6. 9.0 |   No Ripcord

    Despite Mering's sonic flights of fancy, Titanic Rising is a lean, 40-minute recording that carefully considers her performative sentiments with fine craftsmanship. No emotions go astray—every full-hearted melody here stirs a passion in both subject matter and skill
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  7. 9.0 |   All Music

    Fantastic songs, meticulously detailed production, and a certain, hard-to-name spark of connection all gel into the near-perfect statement that every part of Mering's strange journey before this led up to
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  8. 9.0 |   Uncut

    Tightly structured, lavishly orchestrated, brilliantly realised. Print edition only

  9. 8.9 |   Northern Transmission

    Though it loses a little sonic steam in its latter half, Titanic Rising is front-loaded by some simply amazing tracks
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  10. 8.5 |   Earbuddy

    Natalie Mering's biggest, grandest album is also her best
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  11. 8.5 |   Under The Radar

    A perfectly balanced synthesis between the old and familiar and the new and unexplored
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  12. 8.5 |   Spectrum Culture

    Mering’s soaring vocals and diaristic lyrics anchor the music in the here.
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  13. 8.5 |   Pitchfork

    A grand, sentimental ode to living and loving in the shadow of doom. It is her most ambitious and complex work yet
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  14. 8.5 |   The 405

    Easily her best record thus far, and one of the finest pop records in recent years
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  15. 8.0 |   Rolling Stone

    Natalie Mering’s blissful vintage pop trip has freakouts lurking just out of frame
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  16. 8.0 |   NME

    The Summer of Love ended in bloodshed and, on her fourth album, it’s as though Natalie Mering is looking back at the seemingly idyllic era through a smeared prism
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  17. 8.0 |   Exclaim

    Titanic Rising may draw inspiration from the past, but it's ultimately a clear-eyed look at love, catastrophe and hope that's perfect for the present moment
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  18. 8.0 |   Clash

    ‘Titanic Rising’ harnesses convention and refashions it into something singular. At once a document of this “wild time to be alive” and an escape from it, it’s often remarkably good
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  19. 8.0 |   The Music

    A consistently brilliant listen
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  20. 8.0 |   God Is In The TV

    The centre point and highlight of Weyes’s Blood’s Titanic Rising is undeniably ‘Movies’
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  21. 8.0 |   NOW

    While the overall tone is soothing, the ambition and sense of gentle foreboding never lull you into complacent reverie.
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  22. 8.0 |   PopMatters

    Weyes Blood (a.k.a. Natalie Mering) conjures up a beautiful, cinematic world through with her insightful songwriting on Titanic Rising
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  23. 8.0 |   Evening Standard

    There is more than a touch of Karen Carpenter to her voice, a touch of Minnie Ripperton in the gospel-tinged arrangements. But it pushes forward too: the way the lush electronics of Movies give way to nervy modernist violins; the clattering percussion of Everyday. Glorious
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  24. 8.0 |   DIY

    Equal parts beautifully delicate and powerful
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  25. 7.0 |   Crack

    Mering’s otherworldly demeanour and rich, assured soprano creates a sense of removal. As a narrator, she seems to float above the unfolding drama without ever falling into self-indulgence
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  26. 6.0 |   Loud And Quiet

    Although still luxurious, the second half admits the welcome presence of downbeat shadows that conclude with the short, baroque instrumental ‘Nearer To Thee’
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