Theissin, Chris (November 16, 2022). "Weyes Blood - And In the Darkness, Hearts Aglow". Under the Radar . Retrieved December 7, 2022. Charts.nz – Weyes Blood – And in the Darkness, Hearts Aglow". Hung Medien. Retrieved December 15, 2022. Swisscharts.com – Weyes Blood – And in the Darkness, Hearts Aglow". Hung Medien. Retrieved November 28, 2022.

Natalie Mering – piano (1, 10), vocals (1–5, 7–10), synthesiser (2, 4, 9, 10), guitar (3, 9), organ (4, 7), musician (8) And in the Darkness, Hearts Aglow (liner notes). Weyes Blood. Sub Pop. 2022. SP1485. {{ cite AV media notes}}: CS1 maint: others in cite AV media (notes) ( link) On September 12, 2022, Natalie Mering officially announced her fifth studio album And in the Darkness, Hearts Aglow set for release on November 18, 2022, and released its lead single " It's Not Just Me, It's Everybody" the same day. In promotion of the album, she embarked on the In Holy Flux Tour across North America and Europe in 2023. [7] The second single, "Grapevine", followed on October 11, 2022. [8] The song, which takes its title from a stretch of California highway known as "the Grapevine", is inspired by Mering's breakup with a " narcissistic" musician during the COVID-19 pandemic. [9] The third single, "God Turn Me Into a Flower", was released on November 16, 2022. [10] I was asking a lot of questions while writing these songs, and hyper isolation kept coming up for me. “It’s Not Just Me, It’s Everybody” is a Buddhist anthem, ensconced in the interconnectivity of all beings, and the fraying of our social fabric. Our culture relies less and less on people. This breeds a new, unprecedented level of isolation. The promise we can buy our way out of that emptiness offers little comfort in the face of fear we all now live with – the fear of becoming obsolete. Something is off, and even though the feeling appears differently for each individual, it is universal. Bloom, Madison (September 12, 2022). "Weyes Blood Announces Tour and New Album, Shares New Song: Listen". Pitchfork . Retrieved September 14, 2022.a b Brown, Helen (November 17, 2022). "Weyes Blood review – And in the Darkness, Hearts Aglow: A beguiling blend of nostalgia and optimism". The Independent . Retrieved November 17, 2022. Cush, Andy (November 18, 2022). "Weyes Blood And in the Darkness, Hearts Aglow Album Review | Pitchfork". Pitchfork . Retrieved November 18, 2022. Selected items are only available for delivery via the Royal Mail 48® service and other items are available for delivery using this service for a charge.

Enchanting. The follow-up to 2019's critically acclaimed Titanic Rising, Weyes Blood's And in the Darkness, Hearts Aglow is a darling of a record. It seems as if Mering can do little wrong; her music is pure ear candy. Technological agitation . Narcissism fatigue. A galaxy of isolation. These are the new norms keeping Weyes Blood (aka Natalie Mering) up at night and the themes at the heart of her latest release, And in the Darkness, Hearts Aglow. a b "And in the Darkness, Hearts Aglow by Weyes Blood". Metacritic. CBS Interactive . Retrieved November 17, 2022.a b Hunt, El (November 16, 2022). "Weyes Blood – 'And In The Darkness, Hearts Aglow' review: quiet optimism in the present-day apocalypse". NME . Retrieved November 17, 2022. Lescharts.com – Weyes Blood – And in the Darkness, Hearts Aglow". Hung Medien. Retrieved December 15, 2022.

Richardson, Mark (November 14, 2022). " 'And in the Darkness, Hearts Aglow' by Weyes Blood Review: The Sweeping Sound of Ambition". The Wall Street Journal . Retrieved November 15, 2022.Richardson, Mark (November 14, 2022). " 'And in the Darkness, Hearts Aglow' by Weyes Blood review: the sweeping sound of ambition". The Wall Street Journal . Retrieved February 26, 2023.

Grimwade, Charlotte. "Album Review: Weyes Blood - And In The Darkness, Hearts Aglow". Gigwise . Retrieved November 28, 2022.And in the Darkness, Hearts Aglow opens with the wistful, winsome “It's Not Just Me, It's Everybody,” a song about the interconnectivity of all beings, despite the fraying of society around us. “I was asking a lot of questions while writing these songs. Hyper-isolation kept coming up,” Mering says. “Our culture relies less and less on people. Something is off, and even though the feeling appears differently for each individual, it is universal.”