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![]() It’s a slow burn of a duet between the two, at times evoking X’s John Doe and Exene Cervenka. Paisley Underground on “On Another Day,” as if some demo from 1983 suddenly bobbed to the surface. ![]() In tandem, they do a hazy approximation of the early-’80s L.A. It’s a peculiar song, as weirdly stilted and stylized as that of Pink, as Mering moves from a high quaver to delivering her lines like lost a Shangri-Las soliloquy. Then Mering takes over on “Daddy, Please Give a Little Time to Me” against a queasy synth gurgle and a snare that cracks from a room over, all of it swaddled in a haze of reverb and echo. The song jags between pomposity and modesty, with Pink lurching between lines about “roasting pigs on the pyre” and how “the joke was from the heart.” For the first 40 seconds, it’s the gentlest I’ve ever heard Ariel-only for an operatic metal stomp, like a gate of hell, to rip open immediately after at the chorus. It begins with guitar jangle and what is either a warbling synthesizer or else Mering doing her best Yma Sumac impersonation in the background. Only on opener “ Tears on Fire” does Pink take the lead. ![]() With the breakout success of last year’s Front Row Seat to Earth, Weyes Blood’s profile ticked up considerably, and while four songs clocking in at 14 minutes is slight by design, Ariel is wise to accentuate Mering’s voice. ![]()
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