Natalie Mering has been dabbling in the hairy fringes of crusty Americana under the Weyes Blood banner (originally spelled Weyes Bluhd) since 2006, oscillating between conventional folk and hieroglyphic haze. Following an extended tour with Axolotl she spent several years in hibernation, roving among various south/eastern headquarters, birthing the bones of what would become The Outside Room, her first official full-length. Doomed acoustic guitars swoon and sweep within eerie, medieval atmospheres of clanking chains and ghosted minor key keys, while Mering's low, Teutonic voice leads each elegant melody out into the grey surf to drown. Skewed somewhere between The Shadow Ring and Nico, the album feels mesmerizingly out of time, an amalgam of funereal folksong, hand-scrawled cassette murk, and narcotic electric Eden.
released May 10, 2011
Recorded, mixed, and produced by Mering from 2008-2010.
Mastered by Graham Lambkin.
supported by 14 fans who also own “The Outside Room”
this album has given me one of the most impactful musical experiences I've ever had. It was driving me crazy while I was listening to it, but somehow it managed to hook me, so I couldn't help but listen to it again and again and again. If it isn't art in its true form, then I don't know how to call it. Ivan Seal and The Caretaker, thank you for releasing this masterpiece. deebrok