The Outside Room
A haunting, tape-saturated blend of gothic folk and ambient drone. Natalie Mering's deep, spectral vocals drift through a fog of murky organs and analog decay.
May 10, 2011 · Not Not Fun Records
A haunting, tape-saturated blend of gothic folk and ambient drone. Natalie Mering's deep, spectral vocals drift through a fog of murky organs and analog decay.
May 10, 2011 · Not Not Fun Records
Murky organ chords and tape hiss drift through these early, gothic folk songs like cold cellar air. You can feel the dampness in her deep, spectral vocals as they float over the analog decay.
“If you think you’ve heard songs more successful at melodrama and heavy mood than “Bad Magic” or more successful at the naked, perennial mode of “pure beauty” than “Requiem For Forgiveness,” I want you to forget them, because you are kidding yourself”
“These finely wrought songs introduce a fascinating and confidently subversive artist and offers a glimpse of the road she’s traveling”Read review
“Earthy melodrama for catacombs that deserves to be heard above ground”Read review
“It’s a stellar record, one that captivates both the heart and the imagination with an almost imperceptible grip”Read review
“Bleeds plenty of transcendental tunery, smart secrets and Weyes’ words to unearth a rich reward for the curious”Read review
How does The Outside Room sound next to the rest of Weyes Blood's catalogue?
The production is built around lo fi than this artist usually allows.
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