In Titanic Rising, Natalie Mering’s fourth Weyes Blood album, contrasts rich, orchestral instrumentation with focused, interpersonal songwriting. It almost shouldn’t work, but Mering pulls it off brilliantly. The almost-too-grandiose music perfectly matches the personal, incredibly relatable tales Mering sings about on Rising. This album wears its Beatles influence on its sleeve, but it’s not sappy or overbearing. There are pleasant hints here and there, such as the George Harrison-esque guitar in “Andromeda” and “Something to Believe,” as well as the entirety of “Everyday,” which sounds like a long-lost Lennon-McCartney tune. (Even the vocal melody for the line “I got this seeker running along a lonely line,” sounds eerily similar to a verse from Strawberry Fields Forever, “I mean it must be high or low.”). I do hope this comparison doesn’t detract from the clearly defined beauty and immersive nature of Titanic Rising. At ten tracks long, this 42-minute journey through Mering’s innermost hopes, dreams, desires, and yearnings stands out among other albums released this year. Titanic Rising may just be Mering’s best, most accessible, and most emotionally resonant work yet.