Multi-instrumentalist Natalie Mering trim her teeth in the wonderful world of noise and experimental rock and roll, performing bass in Portland-based freak rock and roll collective Jackie-O Motherfucker for a while before venturing away single around 2006. Originally billing herself as Weyes Bluhd, Mering’s first releases found its way to the proper execution of limited-edition cassettes, an excellent testing ground on her behalf darkly folky tracks that twisted around loud, digital undercurrents. Weyes Bluhd embarked on many travels, including a Western european stint with Brooklyn experimental work Axolotl. Shifting to Philadelphia, Mering continuing to build up her sound, occasionally playing displays billed as Wiseblood, occasionally joined with a revolving cast of support players she dubbed the Dark Juices. It had been with one incarnation of the backing music group that she produced her first broadly received recording, 2011’s THE EXTERIOR Space, released on Not really Not Fun Information and related to Weyes Bloodstream & the Dark Juices. Among additional collaborations, Mering added visitor vocals towards the 2012 Ariel Green record Mature Themes, and toured with him aswell. Ever nomadic, Mering relocated to rural Kentucky for a while to review herbalism, and in addition spent time surviving in New Mexico and Baltimore before ultimately landing in NEW YORK in 2012. She implemented her debut in 2014 using the pristine and autumnal noises from the Innocents, released on Mexican Summertime. EP Cardamom Moments made an appearance in 2015. In 2016, Mering and Chris Cohen co-produced Weyes Blood’s second Mexican Summertime full-length, Entrance Row Chair to Globe. Weyes Bloodstream and Ariel Green collaborated on the 12″ EP, Common myths 002, that was released by Mexican Summertime in early 2017.