\t\t\t\t\t\t<\/p><\/div>\n<\/p><\/div> \n\tAfter Big Sur, Mering headed east to New York, where she lived more than a decade ago, spending time in sublets on the Lower East Side and in the West Village. \u201cThere\u2019s a certain poetry to New York,\u201d she says. \u201cYou\u2019re confronted with humanity every day. When you\u2019ve lived in L.A. for nine years, and to cap it all off, it ends in a crazy, very heartbreaking natural disaster, my first thought was like, \u2018I should just get back in touch with the East Coast spirit of things, and why I started making music in the first place.\u2019\u201d <\/p>\n \t\tEditor\u2019s picks<\/p>\n<\/h2>\n<\/section>\n \n\tShe began recording at Electric Lady Studios, downstairs in Studio B. \u201cIt\u2019s like a submarine,\u201d she says. \u201cIt\u2019s really close to the underwater river, and I guess Jimi Hendrix<\/a> built that space there to be close to the flow. We would get in there, and seven hours would just zip by without a single glance at the sun. We would just be in our bunker, experimenting. It was an amazing, timeless kind of energy.\u201d<\/p>\n \t\t\t\t\t\t \n\tThe album marks Mering\u2019s first time executive-producing, working alongside her longtime collaborator Jonathan Rado and other producers, as well as Nick Movshon on drums and bass, Benny Bock on keyboards, and more. She\u2019s had a title in mind the entire process, but she doesn\u2019t want to reveal it quite yet. \u201cI don\u2019t want to jinx it,\u201d she says. \u201cBut it\u2019s very reflective of the time I\u2019m at in my life, and how much being a woman changes over time.\u201d<\/p>\n \n\tEventually, Mering decided not to stay in New York. \u201cI thought I was going to move there, but then something happened,\u201d she says. \u201cMy body started yearning for California, my true home.\u201d So she returned to L.A., heading back to the beach and the desert, and continued recording at a studio in Malibu.<\/p>\n \t\t\t\t\t\t \t\t\t\t\t\t\t\t\tLogan White<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n \n\tAt the time of our interview in late March, Mering says the album is 90 percent done. In the meantime, she\u2019s been off social media (\u201cI go dark when I make a record\u201d), only getting her news from podcasts. She recently contributed to Oneohtrix Point Never<\/a>\u2019s soundtrack for Marty Supreme<\/a>,<\/em> the Oscar-nominated film directed by Josh Safdie and starring Timoth\u00e9e Chalamet. While Chalamet was promoting the film in a video interview<\/a>, he asked his co-star Gwyneth Paltrow if she\u2019d heard of Weyes Blood (while mispronouncing her stage name \u2014 memo to Timoth\u00e9e, it rhymes with \u201cwise,\u201d not \u201cways\u201d). Paltrow looked utterly confused, and told him to check out Bonnie Raitt.<\/p>\n\n
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