Westies transport with new album West Side Stories
The Westies have been working hard the last few years after it first got together in Nashville and made music touching on themes of fear, love and Americana. It has been roughly two years since the group was formed and recorded these songs, and the collection of music recorded that one December night has eventually led to West Side Stories, The Westies’ debut album, which drops on Jan. 20.
The Westies’ Facebook page tells the story about how lead singer Michael McDermott met Heather Horton after just having avoided time in prison, among other struggles. One listen to the album and the interplaying themes of internal and external conflict become clear. Moreover, it becomes even clearer that McDermott has a knack for self-reflection in his songs, including but not limited to, nightmares about trains, falling in love with a woman who keeps her distance from him and dealing with devils. West Side Stories seems to be just that: narratives. While the amount of truth to the tales is unknown, The Westies nonetheless shine in its ability to transport others into a sick, ghastly world abundant of loss and betrayal.
“Hell’s Kitchen” appropriately opens the album. The mid-tempo folk rock track follows McDermott as he reflects on life in Hell’s Kitchen, a New York City neighborhood that fostered many of his memories, but now seems unrecognizable to him. “Hell’s Kitchen” exhibits the most prominent elements of the album, including McDermott’s ability to illustrate a world within his music. The guitar’s persistent sound layered over a harmony of strings serves as the foundation on which McDermott’s sultry vocals construct an entire neighborhood. Sonically, the song is reminiscent of Neil Young and Bruce Springsteen, but the clarity of McDermott’s authentic relationship with Hell’s Kitchen allows him to really take complete ownership of the music.
One of the album’s most memorable tracks is “Death,” another mid-tempo about heartbreak. McDermott’s enticing, raw vocals along with the tranquil percussion and bass line make for an eerie, intriguing experience. “Death,” along with “Devil,” are the highlights of the album. Such songs not only exhibit the most interesting production on West Side Stories, but also allow McDermott to showcase his ability to go from an eerily hush voice to a passionate, agonizing shrill.
Among the most significant elements on West Side Stories is the chemistry McDermott and Horton share. Some tracks feature Horton as McDermott’s backup singer, while others feature her singing interplayed with that of McDermott. The warmth of her voice compliments his edge.
Unfortunately, the album declines shortly after “Bars.” The album drifts from a sonically gripping sound toward a dull, uninteresting one. Not only do the themes of tainted relationships and lost battles become redundant, but the choruses also lack the captivating melodies that came so effortlessly in the first half of the album, resulting in a massive letdown. The issue is not that the songs are necessarily bad; it is just that the content is nowhere near as intriguing as that of the first half. Perhaps something as simple as a rearrangement of the track list would have strengthened the album’s ability to maintain the interest of listeners. West Side Stories might be consistent with its lyrical themes, but after a certain point, these themes do not contribute anything new to the album as a whole.
Though McDermott and Horton’s vocal and lyrical ability do not go unnoticed, West Side Stories has its share of moments that might leave some listeners wondering what on earth McDermott just mumbled. Confusing idioms paired with unclear diction restrict the music from attaining its full potential.
Do not mistake the woe on some tracks for romanticized sadness. If the album offers a single message to its listeners, “Bars” says it most directly: “Sometimes you need the darkness in order to ever see the light.”
Despite some issues, by the end of West Side Stories no one will question The Westies’ ability to transport audiences to Hell’s Kitchen, allowing them to visualize the world through The Westies’ smoke-dusted eyes. Though this ability is crucial in entertainment, the lyrical ambiguity along with some of the track’s reccurring themes are ultimately what becomes tiresome in what was at first the music’s initial appeal. McDermott’s vocals thrive because of his passion, making it clear that each of the stories shared on West Side Story are rooted in pure human experience.