Natalie Mering—the resonant voice and creative mind behind Weyes Blood—creates music that is of two minds, rife with unreconciled sonic and conceptual juxtapositions. Last Thursday’s concert by the up-and-coming psych-folk artist brought their particular mixture of lush instrumentals and apocalyptic lyrical content to the CFAC Auditorium, creating a serene yet haunting mood.

Old, familiar sounds of pianos, acoustic percussion and strings were seemingly disturbed by utterly modern undercurrents of electronic noise, synthesizers and found-sound splices. All the while, the operatic lilt of Mering’s voice presided.

Last week’s show was an off-day concert from a string of dates supporting Father John Misty, an apparent compatriot in Weyes Blood’s appropriation of 70s folk-rock styling. Both bands also feature lyrics that speak into current experience.

While the weeknight concert yielded a small crowd, both the local opener – Jade TV – and Weyes Blood played full-energy, great sounding sets for a grateful audience.

Mering ended Weyes Blood’s performance by excitedly playing their last song, “Seven Words,” on the CFAC pipe organ. Following that special musical moment, the three-piece backing band exited the stage and Mering offered to play an encore by herself, with just an acoustic guitar.

The concert offered students and the public alike an opportunity to catch an emerging artist in a uniquely intimate and high quality setting. More importantly, perhaps, attendees were shown the beauty found in honest art, even if that art is about the end of the world.

Weyes Blood seems to be a band now on the rise. Their 2016 album “Front Row Seat to Earth” was named ‘Best New Music’ by Pitchfork, and also received favorable reviews from publications like NPR and The Guardian.

More recently, the band was signed to Sub-Pop, a powerhouse Pacific-Northwest-based, indie-rock record label that has released albums by the likes of Nirvana, Soundgarden, Sleater-Kinney, Fleet Foxes and Beach House—just to name a few.