Critics are already making year-end best-of predictions about Titanic Rising, the celestial-themed fourth outing from NYC-based musician/producer Weyes Blood, aka Natalie Mering. There is something rather lovely and melancholy-evocative about her elegant soft-hitting rock, which calls on baroque and psychedelic pop in its lush arrangements and hypnotic synthesized production qualities, while Mering’s otherworldly, mildly mournful, gliding and soaring vocals have a 1970s-era singer-songwriter feel. Standouts include the gorgeous sweeping “Andromeda,” which hits those getting-you-inexplicably-choked-up notes, though it might be the sliding guitar solos that sound touched by the late George Harrison or maybe it’s the subject matter (Mering has said it’s about “losing your interest in trying to be in love”), and “Everyday,” which explores modern dating in a bouncy, piano-driven format. by Leilani Polk