Less séance, more opening of the gates -- those were our closing thoughts on Weyes Blood’s 2014 longplayer, The Innocents. And with that in mind Natalie Mering’s latest, Front Row Seat to Earth, ushers us through those gates and into the hinterlands. It's here that we find her old world brand of folk married by blood oath to a more elegant, almost baroque chamber pop. As . . .
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