Natalie Mering’s music has always rewarded patience, and the fourth album from her Weyes Blood project is no different. Much like its 2016 predecessorFront Row Seat To Earth,Titanic Rising avoids traditional pop structures. Nonetheless, those who enjoy Weyes Blood’s slow-burning style are in for a treat.

Titanic Rising takes many of the best ideas from Mering’s previous work and expands upon them gracefully, with a refreshing sense of purpose. The songs play much like the album art looks: saturated and colourful, but suspended in water and slowed to a crawl – like wading into a backyard pool on a sunny afternoon.

Songs like ‘Something To Believe’ and ‘Movies’ shimmer and sparkle, with pianos, guitars, strings and arpeggiated synths blending together beautifully. Other tracks, like ‘Everyday’ and ‘Wild Time’, come closest to traditional piano-pop balladry.

All of this – combined with Mering’s still detailed songwriting and effortlessly smooth alto vocals – make for a powerful experience. So while it does still take its time, faultingTitanic Rising for demanding close attention misses the point. It’s really all about taking a moment or two to slow down, before diving into the record’s absorbing soundscapes.

Out now. 

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