ALBUM REVIEW: West End – The 69 Eyes

There’s an old British phrase that states ‘today’s news is tomorrow’s chip paper’, and in a world that seems to be moving quicker than ever before, this adage is exceedingly relevant. Three years have passed since Finnish goth-rockers THE 69 EYES released Universal Monsters and since then the genre, whilst maintaining a hardcore following, has somewhat taken a backseat as the ‘gothic’ ideology has transferred more and more into a social media fashion trend; the disbandment of HIM hasn’t helped matters either. As such West End, the band’s twelfth studio album, is a timely reminder that the market for music of this calibre is still very much a commodity, particularly when the thumping debut from American outfit IDLE HANDS will have flown under the radar of many.

Given that THE 69 EYES celebrated their 30th birthday this summer, West End also represents a chance to prove that they still have the fuel in the tank to compete within the genre and lead the way into the new decade. Sadly for them, the warning light has come on, signalling they’d better reach a petrol station soon or risk petering to a halt on the side of the road with an almighty judder. This is not a vintage THE 69 EYES album – in fact, it’s not a vintage album full stop. For all their experience and legacy, West End is largely a one-paced, fastidious amble that will not be remembered fondly in years to come.

Songs like 27 & Done and The Last House on the Left are mediocre at best, hogging the ‘middle-of-the-road’ concept without any indication that they’re about to differentiate either way. The production job is horrible too; vocalist Jyrki 69‘s distinctive, bass drawl is usually seductive and sensual, but by the time Hell Has No Mercy has completed its pedestrian lumber to close the album, he’s so grating you’ll wish he’d shut up by track 4. In addition, whoever has done the mix sounds like they’re stuck in 2004; sure, that was a bumper year for the band (they were catapulted into the public eye with seventh album Demons), but in today’s world it has left them sounding out of date and trying to cling on to former glories.

There are a couple of glimmers though, flashes that show THE 69 EYES could still salvage things on a future release. The strongest song on the album by a country mile is Cheyenne; it has a swagger and menace that helps it roll along smoothly in comparison to the other ten tracks present and for an all-too brief moment, THE 69 EYES are back at the top of their game. Black Orchid is another point of interest – sure, it’s unspectacular, but it’s driven by a simple yet effective piano line that underpins the track well, especially when combined with the rumble of bassist Archzie. It might not be much in the grand scheme of things – combined, this pairing are not strong enough to save West End  – but it’s still enough to provide a slither of positivity.

There is still a great outfit within THE 69 EYES, but unless they swiftly freshen their approach to their sound, they will be left truly washed up. West End is not their finest hour, and whether you be a long-time fan or first-time listener, it won’t take long before you’re crying out for Ville Valo to come back as all was forgiven. Picking HIM‘s worst album isn’t an easy task, but rest assured that whatever you plump for is still miles better than this.

Rating: 4/10

West End is set for release September 13th via Nuclear Blast Records. 

Like THE 69 EYES on Facebook.