Chords for Weyes Blood : "J'aime à me penser atemporelle" - L'interview Nova

Nova, le Grand Mûle.
I think now is a really interesting time to be alive.
There's some unfortunate things about it,
[F] and there's some things that seem appealing about the past,
but I think any time period has its downfall,
and as a woman making music, it's good to be a 21st century person.
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[F] _ _ _ _ _ [D] _ _ _
_ [F] Going to see end of [D] days
_ I've been hanging on my phone [D] all day
_ _ [E] What we're dealing with now with climate change
and [G] just the rapid advancement of technology,
it's like [Gm] we're coming [E] towards a higher fever pitch,
where it's [C] like there are things beyond our control and understanding
that are starting to happen,
not just human affairs and wars [F] and strange natural events,
but kind of a more [Gm] geological, like a deep geological phase
that nobody is [F] [Am] really sure what's going to happen.
[D] They're my [Dm] last, [C] it's not [Bb] the last _
Your voice [B] is often compared [Ab] to the voices of artists from the 60s or 70s.
You mix temporities a lot.
I like to think of myself as atemporal,
and I don't belong to any one thing,
I _ mean, I feel like the 70s are still here.
I think the 70s are still here.
They might just be covered up by a couple coats of cheap paint.
I do think that there was a lot more artistry
and a lot more money kind of funneled into the right places,
and there was a lot more interesting music on the radio that was mainstream.
So in some ways, yeah, it was a golden age.
It was more about musicians.
It was less about what people looked like, and it was less about money.
I mean, it was about money,
but people were making money off of [E] sincerity and genuine things
as opposed to now [Abm]
a lot of the mainstream music, not hip-hop aside.
I think hip-hop is like its own special trajectory.
[Eb] It's kind of like [E] the best mainstream music there [D] is right now,
but in terms [Cm] of mainstream pop and mainstream rock,
[Bbm] it's [Db] gotten pretty [G] strangulated by capitalism,
and it just sounds bad,
and it's some of the trashiest music that's ever been [Ab] popular.
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[Eb] _ _ [Bbm] _ _ [C] _ _ _ _
[Ab] _ _ [Gm] _ _ [Fm] _ _ _ _
[Eb] _ _ [G] _ _ [C] _ _ _ [Fm] _
[N] I'm not trying to emulate or make music
that sounds really, really perfect like it's from the past.
I would like it to be nostalgic in an archetypal sense
where it's like you can feel the kind of warmth
of what came from that music
and all the positive aspects of singer-songwriters from that time
plus the futurism of technology
and kind of like creating something that people in our generation can relate to
as opposed to kind of isolating people
that might not be as interested in the past. _ _ _ _ _
_ _ _ _ _ _ _ [C]
I've noticed that angst is basically absent from [E] music now,
which is so weird because when I grew up and when I was getting into music,
it was all about angst.
It was all about anger.
I had so much anger.
I can't remember how many times I would scream at my parents
over having an SUV or over like [Abm] something about recycling.
I was really angry for a long time,
and I think that post-anger is kind of where a lot of people are at,
and it's a little sad because I miss the angst,
and that can always come back,
and there's a lot of people angry in America right now
about the things that [E] are happening,
but [A] I think on the whole, I've [C] noticed _ [Abm] people kind of succumbing to the coma
of feeling incapacitated, like they can't do anything [E] about it. _ _ _ _ _
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_ _ _ You started playing with this band, J.K.O. Motherfucker?
Not the fairest, but it was the first band I went on tour,
and it was fun, but I also wanted to do my own thing,
and I was very much rebellious.
I [A] didn't want to be a part of some institutional band
that has existed for a long time.
I wanted to start my own thing,
so I left the band in the middle of the tour. _ _ _ _ _
_ _ [Abm] _ _ _ _ [Em] _ _
_ _ [F] _ _ _ _ [Em] _ _
_ [D] I stopped being Christian when I was 13.
[C] _
I just [Am] decided I wasn't Christian anymore.
[Gb] I got into punk.
I was into the kids in the hall that had a [F] homosexual member,
so I was like, oh man, if God hates gay people,
[C] I can't even fuck with this anymore.
That's literally what [Gm] I said.
_ _ [C] _
_ [Dm] _ [Gm] _ [Dm] I love music for God.
Music that was made for God is great.
Like all the [C] old early music, choral [Gm] music,
a lot of classical music, [Am] _ gospel music,
[C] there's a rich, beautiful [Gm] aspect to that [Am] universe for sure,
and I was really glad to be exposed to it.
[G] _ [D] _ _ [G] _ _ _ _
[Dm] _ _ [E] _ _ [G] _ _ _ _
_ _ [D] _ _ [C] _ _ _ [D] _
You [B] collaborated with Ariel Pink.
[C] How did you know that an artist can fit [Ab] to your world?
I grew up [G] listening to Ariel Pink in high school.
When I first heard him on the radio,
I remember because I was doing a lot of four-track weird recordings at the time,
trying to make my own pop universe similar to that,
kind of like my own weird outsider world,
and when I heard him on the radio, I was like,
ah, he's doing exactly what I want to do.
And then I remember thinking,
[Am]
oh yeah, we're going to meet someday,
like this guy and I have a similar perspective.
Even though you can't really hear it,
there's subtle harmony similarities,
and he has like a weird renaissance,
early [Abm] music, chordal tendency in his music
that I kind of noticed right off the bat.
So when we went to collaborate together,
it really kind of made a lot of sense, and it gelled.
[D] _ _ _ [G] _ _ _ [C] _ _ [G] _ _