Weyes Bluhd

Weyes Bluhd

BandRockClassic Rock

Weyes Bluhd's voice is deep and resonant like Nico's, hypnotic tape sounds swirl over cathartic organ drones and heavy psyche riffs, each song taking an emotive triumphant quality like the songs of the forgotten soul, remembered, and blasted through the sonic elements of amplification.


Natalie Mering has been a musician since the tender age of six, when she grabbed a busted Nylon guitar and shoved some pencils underneath the strings, and scraped away thinking, "Well, if Kurt Cobain can do it then I sure as hell can." Growing up in a family of musicians (Natalie's father Sumner Mering actually had a stint with Rhino Records, producing a new wave record with Jack Niezche in the early 80's), Natalie has always communicated her emotions musically. Starting with the piano, and the pencils in the guitar of course, she began writing songs at a very young age.
After snagging a job at a local record store in the 7th grade, she obtained her first electric guitar and proceeded to teach herself the basics. Her dad showed her some power chords, but she managed to develop a style of finger picking keen on the tip of the records she was clearing out of the store she worked at (most of the money she made at the record store went back to the record store). Her music taste was all over the place, from John Fahey to Sonic Youth to Syd Barrett to Olivier Messiaen--Natalie was on the perpetual prowl for all things supernatural and strange in the realm of sound.
Experimentation came very naturally in those youthful days, unable to find fellow musicians to play with, Natalie resorted to buying a tascam four track cassette recorder and an analog delay pedal to be her band. All the musicians in her town were mostly young boys, playing grindcore, insisting that if she wanted to join their band she'd have to play bass. (Which she did, for one gig only in the infamous Face Full of Crotch). Recording sound collages till dawn, writing epic guitar anthems, tuning in late at night to college radio (WPRB, Princeton), aching to hear the unearthly sounds of weird records yet to be discovered...these were all things that shaped the onslaught of Weyes Bluhd.
It was also around this time that Natalie developed an interest in home built instruments, building a six-foot long behemoth zither called a harmonics guitar to satiate her desire for overtones and industrial sound slaughter. She still uses her "squid in space" today on all her recordings. She sang in the choirs at school, one of the lowest altos in her grade--she fine tuned her sense of harmony here, and also learned that she could use her voice like satin and butter, melting over people's ears. At 15 she gave up on her town. She couldn't find any other weirdos sans the grindcore dudes, so she began taking the train. Further and further away, all along the small Pennsylvanian towns on the R5 train line, meeting other musicians, moving on to the next town, until she found herself every weekend sitting on the train for an hour and twenty minutes to get down to the big city, Philadelphia. It was there that she attended pivotol warehouse shows in the industrial wasteland of South Philadelphia. She was exposed to noise bands; performance artists sweating in asbestos soaked mayhem with cheap beer evaporations and weed fog, woman freaking out, a far cry from the male dominated hardcore shows from her town. These people took it to the next level, she thought.
For the first time she saw people doing what she did in her bedroom. Bands like the Skaters, Wolf Eyes, Nautical Almanac, Impractical Cockpit, The Coughs, Sunburned Hand of the Man, Double Leopards and the Magik Markers all played at this one particular warehouse (South Philadelphia Athenaeum), and Natalie made it out to the shows, usually sleeping through school the next day. The Athenaeum made here realize she could play live. It was around this time that she read Flannery O'Connor's "Wise Blood" and snatched the name for herself. It was originally spelled correctly, and the first show she played under that moniker at 16 was at a bar where they immediately booted her out of there after they realized how old she was.
Early shows were primarily acoustic, with an emphasis on sustained notes and emotive folk pieces; small cassette sounds and lethargic loops wove in between songs of desire and loss. Some shows were just her and an acoustic guitar in people's living rooms, incredibly intimate and moving. Natalie graduated high school early and moved down to the city to pursue music full time. Playing three times a week and living off of crackers and hot sauce, Natalie decided to try out some college in the NW, briefly attending the school Lewis and Clark in Portland, OR.
She successfully ignored her college duties as she became enthralled with the Portland music scene, teaming up with the band Jackie O Motherfucker and dropping out of college to do a month long European tour with the band, playing guitar and singing (not playing bass). Until this time releasing recordings had been something she narrowly avoided, persistently believing whatever she recorded would be recorded with higher quality later. The European tour encouraged the production and release of her first full length CDR, "Strange Chalices of Seeing" re


Strange Chalices of Seeing CDR
Evacuating Zombie Milk LIVE CDR
Axolotl/Weyes Bluhd CDR
Liquor Castle 7"
The Outside Room 12" (Jan '10)
Compilations: "Lasting" cassette on Swill Radio.

Set List

My sets are usually 20 minutes, including 5 songs:
tilt the eyes
candy boy
transversal desert contact
shattered mirror