Titanic Rising (album) by Weyes Blood
Ships to: Worldwide
Go to store
Condition: Brand New
Ships to: Worldwide
Go to store
Ships to: Worldwide
Go to store
Weyes Blood bestography
Titanic Rising is ranked as the best album by Weyes Blood.
Listen to Titanic Rising on YouTube
Titanic Rising track list
Top-rated track as rated by BestEverAlbums.com members.
Titanic Rising rankings
Latest 20 charts that this album appears in:
You can include this album in your own chart from the My Charts page!
Titanic Rising collection
Showing latest 20 members who have this album in their collection | Show all 75 members
Titanic Rising ratings
av = trimmed mean average rating an item has currently received.
n = number of ratings an item has currently received.
m = minimum number of ratings required for an item to appear in a 'top-rated' chart (currently 10).
AV = the site mean average rating.
Showing latest 5 ratings for this album. | Show all 515 ratings for this album.
|Rating||Date updated||Member||Album ratings||Avg. album rating|
|29 hours ago||NeverHuman||1,525||75/100|
|3 days ago||lcsm24||11||71/100|
|4 days ago||omerkayar||212||79/100|
|5 days ago||UnoriginalJason3||432||86/100|
Outliers can be removed when calculating a mean average to dampen the effects of ratings outside the normal distribution. This figure is provided as the trimmed mean. A high standard deviation can be legitimate, but can sometimes indicate 'gaming' is occurring. Consider a simplified example* of an item receiving ratings of 100, 50, & 0. The mean average rating would be 50. However, ratings of 55, 50 & 45 could also result in the same average. The second average might be more trusted because there is more consensus around a particular rating (a lower deviation).
(*In practice, some albums can have several thousand ratings)
This album is rated in the top 1% of all albums on BestEverAlbums.com. This album has a mean average rating of 82.0/100. The trimmed mean (excluding outliers) is 82.7/100. The standard deviation for this album is 13.6.
Titanic Rising favourites
Showing latest 20 members who have added this album as a favourite | Show all 79 members
Titanic Rising comments
Showing latest 10 comments | Show all 61 comments |
Most Helpful First | Newest First | Maximum Rated First | Longest Comments First
(Only showing comments with -2 votes or higher. You can alter this threshold from your profile page. Manage Profile)
Natalie Mering is a bit of a nostalgic, in the finest way possible. This doesn't seem to be a blinding nostalgia that reflects the allure of contemporary music. This is a kind that serves as the heartbeat of her work, a tender nucleus that she builds around with expert craftsmanship (or craftwomanship). It's not hard to see what her strengths are. She wields a voice powerful enough to disrupt fault lines and agitate prospective avalanches. In short, she's a beautiful singer who's designed an album perfectly engineered around her vocal dexterity. Weyes Blood's fourth record is entitled Titanic Rising, which is fitting considering many of the tracks here call upon the past, through both Mering's personal experience and her music's sonic disposition. The result is a dreamy, aqueous take on different kinds of love, self-satisfaction and loss. The album art refers to Mering's creative subconscious from the comfort of her bedroom. The metaphor couldn't be more appropriate given that the young songstress' portrays her innermost sentiments flawlessly and with vivid explicitness on Titanic Rising.
The LP begins with A Lot's Gonna Change, a track that starts with a series of fragile piano key strikes. The track quickly escalates with the introduction of Mering's stirring voice. Her voice washes over every inkling of the track like a soothing breeze, starkly opposite of bracing drumbeats. The track finishes amongst lush backing vocals that play off of Mering's sympathies, "Let me change my words, show me where it hurts." The track exemplifies the term "grand opening" and provides a blueprint for ambitious soundscapes to follow. Second track Andromeda, the first single off of the album, sports a western-tinge blended with psychedelia, embodying equal parts Dolly Parton and Iron Butterfly. If you haven't listened to the track, please take a moment to imagine that sonic cocktail in your mind. Mering laments, "Treat me right, I'm still a good man's daughter, let me in if I break, and be quiet if I shatter." The song paints a portrait of unrealistic expectation and subsequent emotional investment. Sixth track, Movies, stands as the album's artistic centerpiece. It's also the most pioneering cut from Weyes Blood so far, submerged in synthesizer arpeggios that are just as delectable as they are alien. The vocals lacerate the wall of electronics with ease as she announces, "I'm bound to that summer, big box office hit, making love to a counterfeit." The poetry points to an endless wave of typicality when it comes to romance and a distinct longing for a love-affair fit for the silver screen. The track ends with a cello barrage capping the whimsical, serene track supported by Mering's heavenly bellows. The penultimate, Picture Me Better, is a likely candidate for the most straight-forward cut of the lot. The instrumentation is heavily stripped back incorporating pacifying strings that play shyly behind Mering's vocals. Her hair-raising falsettos quickly supplant the strings and aid the notion that she could create transfixing serenades if rendered acapella. The song itself is a poignant memorial to a friend lost to suicide's destruction. "If I could have seen you just once more, tell you how much you are adored, there's no point anymore," she details. The track winds down into a final instrumental entitled Nearer to Thee, a reference to the final song played during the demise of the unsinkable ship.
Titanic Rising's artistic vision is crystalline and unalloyed. The thematic framework is a thunderous damnation of monotony and all things ordinary relating to modern life and romance. It's a testament to the artist's admiration of true love in its purest form. Furthermore, the album is a musical mission statement pleading the listener to refuse social conventionality. As emotional as the record is, it's also a vehemently liberating experience. Much of its power is drawn from the sun-dwarfing brightness of its vocal standard-bearer. These tracks are crafted around Natalie's Mering's voice as opposed to common music-making methodology. After all, a traditional approach would just be too run-of-the-mill for Weyes Blood. We can thank her ambition, emotional insight and angelic vocal register for her ever-growing collection of winsome work.
"Lost and tangled up in you,
Everyone knows you just did what you had to,
Burning much more than ever before,
Burning down the door,
It's a wild time to be alive."
1. A Lot's Gonna Change
3. Picture Me Better
I liked listen to this album (that tops the album chart of 2019), but it didn't really raised to my expectations.
So happy to see this album peaking the 2019 charts. Laura Nyro meets Karen Carpenter before Skip Spence enters the room bringing some psychedelic mushrooms to the party. Everything occurs underwater on the bottom of the ocean. Timeless music. Natalie Mering is the biggest talent we've heard in many years. Lana del who?
me litsening for first time: Ok, ok, yeah.
me litsening 1 week later: I had reason.
After my first listening, I find the music okay but not outstanding. But after some rotations I really like the album, the atmosphere and the feelings. It's a very special airy and liquid sound, and with every time I hear the whole album, I like it more. Good work.
Does anyone else hear Aimee Mann?
A beautiful record that doesn't rely on catchy rhythms or choruses but moreso on the journey that the singer's voice takes you on, supplemented by incredibly emotive instrumentals.
"Titanic Rising" has this lovely sort of spaciness to it especially when paired with the vocalist's voice. My problem with the album is that it never rises above its initial level of quality (with the notable exception of "Andromeda"). The instrumentation nor the song writing never really get any more ambitious or unique. Pleasant but not magical.
This is an album that I admire and respect. It just isn't my style. The loose song structure was an acquired taste for me, but there's no doubt that Natalie Mering has a beautiful voice, quite comparable to Florence Welch. I'd love for her to do an album with even more production, maybe a bit more bombastic. Though the baroque pop/dream pop genre is very fitting for the lyrics on this album.
This is one of the sweetest surprises I got this year, by far one of the most beautiful albums I've heard lately. Incredible songs, arrangements and an amazing voice. Love it