In the dog-eared pages of many a long out-of-print magazine, where ink bleeds history and nostalgia, the genres of old-school goth and post-punk are vividly chronicled, their tales woven through the angst-ridden anthems of the late 70s and early 80s. Echoing these archives of aural rebellion, West Wickhams etch their narrative, a duo whose music might fit well in the lineup of the legendary Futurama Festival or a hidden gem unearthed from the more romance-driven Batcave bands.
Jon Othello and Elle Flores, the architects of this anachronistic soundscape, bridge the misty moors of England with Sicily’s sun-kissed ruins. Their concoction of psychedelic post-punk is a tribute to the era’s icons, yet it dances to its own macabre melody. The duo channels the spectral elegance of Whitby Abbey and the twisted tales of Gothic literature into their sound, weaving a musical spell that could charm the most discerning ears of Leeds’ or Liverpool’s famed Erics scenes.
West Wickhams wear their eclectic influences like badges of honor, from the haunting prose of Mary Shelley to the avant-garde spectacles of Andy Warhol. Their latest offering, “Vivre Sa Vie,” is a siren call to those who find beauty in the melancholic and the macabre, inviting listeners to step into a world where past and present are entwined in a mesmerizing dance of shadows and sound. Within the music of West Wickhams, the past is not just alive—it’s electric, pulsating through the atmosphere like a ghostly echo from a time when music was a dark, beautiful rebellion.
The album begins with I Am Sparkling Cyanide, an eccentric track that melds psychedelic sensibilities with an Americana twist, setting a tone that’s both intriguing and offbeat.
Following this, The Maddening Crowd takes the stage, eschewing Thomas Hardy’s pastoral moods for a frenetic energy reminiscent of The Normal’s iconic TVOD, where the tempo of surf rock meets the shadowy contours of deathrock.
Carla Suspiria enchants with its deep, brooding bassline, creating a sense of foreboding that pulsates through the track. Layers of ghostly, otherworldly sounds build upon this foundation, crafting an atmosphere that mirrors the eerie depth of Bauhaus’s most chilling pieces, wrapping the listener in a cloak of gothic allure.
The album then transitions to I’m Spinning I’m Spinning, where the tempo slows to a heavy, swampy pace. This track immerses the listener in a haunting ambiance, as the music creates a dizzying effect, akin to being caught in a spectral whirlwind, with each turn drawing one deeper into a mysterious and spooky realm.
After the brooding intensity of the earlier tracks, At The Cinema brings a refreshing burst of energy with its vibrant, jangly guitar work and deep, echoing vocals, all driven by a minimalist motorik bass pattern that nods to Grauzone’s iconic Eisbär. The mood shifts slightly with Shock Celebration, where a more introspective tone prevails, reminiscent of the Pixies and Kim Gordon, yet distinguished by a striking guitar melody that cuts through a backdrop of simulated breaking glass.
The Conformist steers the album back into the realm of post-punk, adorned with resonant chimes that elevate its melody. Scandulous then accelerates into a surf rock tempo, albeit with a dark twist that seems to transport the listener to a moonlit beachside cemetery. The album culminates with Damned Defiant!, a track that leaves a lasting impression with its ethereal quality, drawing the journey to a close with a sense of haunting beauty and otherworldly grace.
To celebrate the release, very limited Vivre Sa Vie CDs are available exclusively on Bandcamp with random extra goodies.
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