12/11/2022 0 Comments Karen carpenter last photo“My heart is a glow stick that’s been cracked, lighting up my chest in an explosion of earnestness.” “We’re in a fully functional shit show,” Mering says. Where Titanic was an observation of doom to come, And In The Darkness, Hearts Aglow is about being in the thick of it: a search for an escape hatch to liberate us from algorithms and ideological chaos (spoiler alert: the next one will be about “ hope”). The album is her follow-up to the acclaimed Titanic Rising, the first album of three in a special trilogy. And In The Darkness, Hearts Aglow was mixed by Kenny Gilmore at 101 Studio, and mastered by Emily Lazar and Chris Allgood at The Lodge, and features guest appearances from Meg Duffy, Daniel Lopatin, and Lattimore. The album’s ten tracks were written by Weyes Blood’s Natalie Mering, with album production from Mering along with Jonathan Rado on all songs except for “A Given Thing,” produced by Mering and Rodaidh McDonald. The astonishing new Weyes Blood full-length And In The Darkness, Hearts Aglow will be available on Friday, November 18th, 2022. As Mering repeats the title refrain, the song swells with orchestral strings and effervescent harp from Mary Lattimore (“Best New Track”).” She uses that instrument to stirring effect on ‘It’s Not Just Me, It’s Everybody’…” Pitchfork offers this, “Discovering the shared ache of seclusion, she yearns for pain and isolation to dissolve, settling on a poignant solution: mercy. Released earlier this month, “It’s Not Just Me, It’s Everybody” saw praise from the likes of New York Times, who say, “Natalie Mering’s soft, clarion voice sounds like a delayed transmission from 1970s AM radio, blending the searching tone of Court and Spark-era Joni Mitchell with the celestial calm of Karen Carpenter. Singing! Dancing! Technological Cannibalism! Even More Dancing! The “It’s Not Just Me, It’s Everybody” video was directed by filmmaker Charlotte Ercoli (Weyes Blood’s “Seven Words”). The Anchors Aweigh-meets- The Omega Man-inspired, live-action/animated visual pairs Weyes Blood’s Natalie Mering as “the new kid” alongside her co-star, a formerly celebrated and now disgruntled cell phone. Too bad she didn't live to see it.Watch Weyes Blood get her big break (at the end of the world) in the deranged official music video for “It’s Not Just Me, It’s Everybody,” the acclaimed new single and opening track from And In The Darkness, Hearts Aglow, her forthcoming album. It's hard to argue with this statistic: the official YouTube video of Karen Carpenter singing "Rainy Days and Mondays" had almost 30 million views in 2019. Regardless of who was to blame for The Carpenters' star falling, music fans continue to disagree about their legacy, with many weighing on the side that they were too cheesy to be taken seriously, and the other side - which includes Paul McCartney and Rolling Stone - swearing that they were the real deal. Some critics, like this one at Consequences of Sound, suggest that me-decade proto-hipsters destroyed The Carpenters' reputation. Hair bands and heavy metal were in, sweet tunes about birds magically appearing and newfound love were out. Then, the eighties hit and their popularity began to wane, partially because both Richard and Karen were fighting private demons - in his case an addiction to Quaaludes and in hers, anorexia nervosa - but also because they were facing a very real shift in the public's musical taste. Tragically, when, in the winter of 1983, she began to pursue a more healthy lifestyle, gradually regaining the weight she'd lost, her heart - damaged from years of near starvation and drug abuse - could not support her larger frame. The young woman who once saw herself as too fat was now being criticized for being too skinny. A critic with Variety ignored her performance and focused instead on her looks and dress, whining that she was too thin and should be outfitted "more becomingly." Even her own husband, Thomas Burris, dismissed her as a "bag of bones." According to this piece in Time, audience members audibly gasped when she came out on stage, her hip bones jutting through the thin gowns she preferred at the time. Carpenter didn't stop there, though, and as she continued to shrink, people around her grew alarmed. When she got down to 110 pounds - from a high of 165 - they told her she looked great. At first, friends were supportive of the weight loss.
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