Natalie Mering started making music under the name Weyes Blood when she was 15. Having lived in Santa Monica, Pennsylvania, Oregon, Baltimore, Philly, Kentucky, New Mexico, and touring with bands since 19 through North America and Europe, she has, for the time being, settled in New York.
Cardamom is the first track shared from Weyes Blood’s upcoming EP Cardamom Times, slated for an early October release on Mexican Summer.
Opening with a doubled guitar, a trademark of Weyes Blood from her previous LP The Innocents, Cardamom unfurls into a lucid dream. It plays along a path in the sun, lined by golden reeds and wooden fences. Beyond lay the gates to a village built for people who don’t live there anymore. A portcullis hangs between two medieval turrets of hard, grey stone. By the dried moat, a person walks, thinking about the first cool day of late summer and all the things that are coming to an end.
Through the mythic landscape, Mering’s voice suggests a tenderness beneath her authority, asserting a greater realness — as if we were back sitting in a New York apartment. Cardamom wanders through a series of releases and recreations, a balance inherent in Mering’s music, but even more refined here. She’s methodically compassionate from years culminating in lessons that were not possible to avoid.
What is white magic’s answer to the mistakes that come with time?