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Folk & singer-songwriter · Pop

Titanic Rising

A soft rock record about the world ending — and why holding someone’s hand still matters.

Worth your time?4.5/5Yes.Hear the whole thing.What works, what does not, who it is for ↓
9:26in productionCh. 1 · FM Radio as Syntax/ 9:26 · ceiling 15 min
4 chapters · 9:26Ceiling 15:00

The brief is written and checked. The video joins this page when it is cut.4 chapters · 2 min read · 9:26 planned

Read the brief

A soft rock record about the world ending — and why holding someone’s hand still matters.

Chapters & takeaways4
  1. 1:26
    FM Radio as Syntax

    It sounds like 1970s FM radio — not as pastiche, but as functional language.

  2. 2:48
    The Drum That Anchors the Flood

    The LinnDrum on 'Andromeda' is placed not for groove, but for contrast — a mechanical pulse inside a submerged world.

  3. 4:08
    A Set Built to Drown

    The underwater bedroom isn’t surrealism — it’s documentary: a constructed sacred space built for a two-hour shoot before water destroyed it.

  4. 5:18
    Two Kinds of Sinking

    It names climate change and romantic disappointment in the same breath — because both are forms of systemic failure.

1 more chapterFewer chapters
Running order10
  1. 01
    A Lot’s Gonna Change4:22
  2. 02
    Andromeda4:40

    Heard in Percy Jackson: Sea of Monsters (2013)

  3. 03
    Everyday5:07

    Heard in Pulp Fiction (1994)

  4. 04
    Something to Believe4:46

    Heard in Pastpresent (1989)

  5. 05
    Titanic Rising1:36
  6. 06
    Movies5:54
  7. 07
    Mirror Forever5:06
  8. 08
    Wild Time6:09
  9. 09
    Picture Me Better3:42
  10. 10
    Nearer to Thee1:06

Film placements are the ones described in each film's own entry, so the list is partial rather than complete.

Worth your time?

Yes. Hear the whole thing.

4.5/ 5
What works
  • the underwater album cover lands as a precise visual correlative
  • the LinnDrum on 'Andromeda' lands as a deliberate anachronism
  • the sequencing lands as narrative architecture
  • the voice lands as unwavering anchor
What does not
  • offer solutions
  • use modern pop’s chord changes or lyrical shorthand
  • avoid fragility
  • treat nostalgia as escape
Hear it if
  • people who listen for texture, not just tune
  • people who want love songs that name climate change
  • people who trust FM radio warmth as a vessel for dread and tenderness
Skip it if
  • people who need immediate hooks
  • people who need literal storytelling
Who should hear it, and who should skipHide who it is for
The written brief2 min read

What the record is and where it came from

Titanic Rising is Weyes Blood’s fifth studio album, produced with Jonathan Rado and released by Sub Pop on April 5, 2019. It was made under conditions of heightened creative control after Front Row Seat to Earth, and is the first chapter in a trilogy.

How it sounds, and how it was made

It sounds like 1970s FM radio: warm, wide, and softly layered. Recorded over three months in 2018 at Sonora Studios in Los Angeles, it uses expansive arrangements drawn from soft rock, chamber pop, and baroque pop. The LinnDrum on ‘Andromeda’ anchors its rhythm. No synthesiser models, microphone types, or tempos are stated — only the LinnDrum placement and the studio’s location are verified.

What lands

The underwater album cover — a teenage bedroom submerged in a Long Beach pool — lands as a precise visual correlative to the record’s themes. The LinnDrum on ‘Andromeda’ lands as a deliberate anachronism. The sequencing — with the instrumental title track as pivot — lands as narrative architecture. The voice lands as unwavering anchor.

What does not

It does not offer solutions. It does not use modern pop’s chord changes or lyrical shorthand. It does not avoid fragility — it centres it. It does not treat nostalgia as escape; it treats it as material.

The ideas inside it

Romantic disappointment. Damaged reality. Finding hope. Climate change. Resource depletion. Interpersonal disconnection. The bedroom as a subconscious altar. Media as modern myth-making. The Titanic as metaphor for ecological collapse.

Who should hear it, and who should not

People who listen for texture, not just tune. People who want love songs that name climate change. People who trust FM radio warmth as a vessel for dread and tenderness. Not people who need immediate hooks or literal storytelling.

Is it worth your time

Yes. It rewards attention with sonic cohesion and lyrical precision. Its ambition is fully realised: every production choice, from studio to drum machine, serves its emotional and philosophical inquiry. It is not background music. It asks to be heard whole.

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9:53
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2:30
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