As you sift through her words, you’ll feel something, and you’ll associate those feeling with past experiences that may cause you to associate them with something more, something that affects your own emotional state. The Innocents is akin to the most primal form of expression: elements laid bare, deeply connected to the past, and miles away from anything else you’re likely to hear in music today.
“Weyes Blood isn’t making anachronistic music, but rather blending psychedelic synthesizers, rock drums, and vocal layering effects to produce something that only could have been made today.” – Fader
“Drawing from the androgynous folk-rock vocals so characteristic of early ’60s and ’70s outsider folk singers like Vashti Bunyan and Sibylle Baier, Weyes Blood’s Natalie Mering never hesitates to dive head-first into complex and mature arrangements.” – Fader
“…her quavering alto, which floats above an intriguing mix of conventional instrumentation and electronics, tape collages, and delay effects to create a compelling update of '70s psyche-folk.” – Nylon
"Hang On" finds Mering released from these ghostly gates—its her most pronounced track to date, and one that more directly recalls her 1960s British folk touchstones.” – Pitchfork
“Singing at once with vulnerability and strength through an austere, multi-layered warble, Mering searches for truth and light while facing the end of something.”– Pitchfork
“Hang On,” its first single, sounds like a tweaked and adrift version of ’60s folk music.”– Stereogum