The song that inspired Weyes Blood to become a musician

(Credits: Far Out / Press)

Tue May 28, 2024 12:00, United Kingdom

Among all the independent artists working today, Weyes Blood feels like a relic from the 1970s that only debuted in the 2020s. From the first notes of an album like The rise of the Titanic, it often feels like we’re hearing songs that are a cross between artists like Carole King, The Carpenters, and Lana Del Rey, depending on which part of the track you’re actually listening to. Although Natalie Mering puts every element of her creative upbringing into each of her albums, it wasn’t until hearing Syd Barrett’s “Terrapin” that she began to understand what she wanted to do.

Then again, Barrett’s post-Pink Floyd career tends to be hit or miss for many rock fans. There are still brilliant elements in each of his songs, but it would make sense that anyone wouldn’t want to listen to it as Barrett slowly loses control of his own sanity in his ears after the albums release.

Still, Barrett’s works aim to celebrate the spirit he had when he was still with us, and “Terrapin” might be one of the greatest solo releases made by a former member of Pink Floyd. Despite some rough edges (naturally), it feels like the love child between pop and prog that Barrett was aiming for when creating most of the songs on The Piper at the Gates of Dawn.

There’s a touch of sadness hearing him display such creativity, knowing everything was about to fall apart, but “Terrapin” captures the sound of what it feels like to lose yourself in one’s own creativity and that one really has something to show. Any artist can relate to that feeling, and when Mering heard it, she knew she wanted to have that kind of freedom when making music.

Talk with TIDE, Mering said she immediately needed to know how Barrett performed the song together, saying, “I learned it immediately. It was so extravagant and dreamlike that I realized the music didn’t need to be enhanced with steroidal energy to be effective. If anything, it could be awkward and human and become even more approachable.

Although half of all mainstream songs are about getting that magical take until everything sounds flawless, some of the best moments on Mering’s albums are about appreciating the little sonic artifacts that remain in the mix. In a piece like “Movies,” hearing those subtle piano keys feels like watching her perform an intimate set, even with all the added effects around her.

Barrett should also be praised for letting generations of musicians embrace their weirdness. Aside from Mering, Barrett was practically the model for David Bowie morphing into something more surreal, and Pink Floyd probably wouldn’t have had the will to do something like The wall without him coming first either.

While Weyes Blood has amassed a fan base known for loving the intricacies of his songs, it’s all about trying to create something that feels human. It may not be perfect, but no artist is, so you might as well try to create something that is true to yourself rather than trying to please someone else.

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