Weyes Blood is the project of Natalie Mering. On her latest lp, The Innocents, she has crafted a soundscape that is brighter, clearer, than the murkier, more lo-fi psychedelic outings of past. But that’s not to suggest that the music is any less haunting. After all, on “Hang On,” Mering wakes up in a tomb. This is gothic, elegiac folk — stately and majestic. Her vocals are measured, solemn and deliberate, evoking a bygone . . .
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