Weste: “Wish Wish is an album with a share of magic”

Mystique and nostalgia go together perfectly in wish wish (2022), the new album by west. The experimental pop duo made up of the Patagonian artist Clara Trucco -also the vocalist of Fémina- and the Montevidean producer Ignacio Pérez unfolds a captivating proposal with a strong orchestral presence and a kaleidoscopic approach to musical genres. The brand new follower Hand fan (2020) “sounds like a pop enchantment in which each of the songs works like a magic spell and an invitation to desire,” according to their press release.

Influenced by musical duets of the stature of Aterciopelados and Eurythmics, the band unfolds its roots and takes us into an enchanted valley that blurs elements of funk, lo-fi hip-hop, minimalism, jazz, soul, carioca pop and the ballad, without shame to the contrasts in order to exploit the sound impact inherent in the progression of its story. “It is curiosity and desire to try new things, instruments and sounds. That makes the project more flexible”, says Trucco (aka Wen) in conversation with indie today about the experimentation agreement, to which his colleague adds: “It keeps the music alive, the desire to create and that something new motivates you”.

Another high point is his lyrical virtue, capable of combining the miseries of the world, subjective fragility and idyllic fantasies in the same soliloquy packed with sensations and metaphors. Immersing ourselves in the inner universe revealed by his poetry forces us to float against all odds in order to find the intrinsic serenity of wish wish. From the starting point, various microclimates converge in a tribal exploration while Weste anchors in the unfathomable enigma of being.

With songs like “Las Olas”, “Espiral” and “Ata”, the repertoire opens a portal between the jungle, the ethereal and the phantasmagorical, fusing vestiges of the modern world, the ritual of nature and its vital ancestral reminiscence. During its more than half hour duration, wish wish arouses dreamlike portraits akin to surrealism and bare his soul to rearm the stridency of a new dawn.

What does the title of the new album allude to, ignoring its translation?
Clara Trucco: We were between “Wonderful” and “Wish Wish”, but “Wish Wish” resonated with us constantly, like a spell or an incantation, something of the onomatopoeia of sound, a tinkling stardust. We feel that it is an album with a share of magic. We have been working on an aesthetic, with characters that tell a story, a fantastic imaginary world. There is melancholy and tragedy.

What characters make up this magical universe?
CT: The fairy, the mermaid, the magician, the witch, those fantastic or magical archetypes appear. The other day, a friend told me that the photo of me as a mermaid scared her, she thought it was very dark. That interpretation seemed good to me, in fact the fairy in “Mansa” is also dark but tender at the same time. Mythologically, the sirens used their song to deceive the sailors.

In the album they dialogue all the time with that clash between light and darkness…
CT: It’s how we are, people of light and also of shadows, that translates. Even in the lyrics, sometimes they are bright, joyful and hopeful, and then suddenly they are melancholic, sad and tragic. There is also a clash of styles and aesthetics in music. In terms of sound we try to go into the depths.

How was the experience of making an album during the pandemic?
Ignacio Pérez: It was quite creative, we made many more songs than those on the album, like forty. We arrived at a place that we had been looking for from Hand fan. Something materialized on a sonorous and aesthetic level.
CT: We left the concept of Hosts, our second album, which was more folkloric. The previous disc Hand fan, it was more pop, it emerged in a pandemic but we recorded it before. The last one is pandemic from compositions.

Where do the influences come from for the ancestral sounds that identify your project?
CT: Music is ancestral in itself because it is inherent to the human being since the most remote times. There is something of that search, that timeless connection when it comes to composing and being connected to the music in a more spiritual way. In our songs, especially in the previous albums, there was a lot of presence of folk instruments such as the charango, mandolin, sikus, flutes, drums, balafon, legüero bass drum, and something in the almost mantric repetition of words that makes that association more evident .

Although in Hand fan a transformation process can already be detected by incorporating other sonorities without detaching from the influences of Latin American folklore, wish wish It’s Weste’s most pop record. What was the premise or desire to carry out this reform?
CT: We wanted sparkles and glitter! Something more dream pop, a little less encrypted and a little more hi-fi. In this case, we use pop as a common thread for everything else. It also happened that we started playing live with a more traditional band format – drums, bass, keyboard, electric guitar, horns and vocals – and this album is true to that live. We were always quite pop in terms of the song format, but this time that transformation is more accentuated. It is a more urban album, with certain aesthetic influences from the pop of the eighties, nineties.

Photo: Tomas Würschmidt

Throughout the repertoire there is a strong orchestral presence that reveals a more ambitious development in sound terms. What was the importance of this instrumental addition in analogy with the lyrics of the album?
CT: The orchestration gives a different depth and magnitude to the song and the lyrics. It accompanies the letter with another expressive quality and another warmth. This time we wanted to take that more ambitious path. We wanted to experiment with turning what we did with a plug-in in the studio into something real, played by someone else. We loved composing the sections, melodies and harmonies, transcribing it, and then hearing it translated into an acoustic ensemble. That our delusions can be touched is a great satisfaction. We are instrument lovers and one of our dreams is to play with a big band.

Taking into account the versatility and evolution of the project from one album to another, what impressions do you get from listening to the songs on your debut album, Viscera (2014)?
IP: Search for Viscera I find it incredible, very freaky. We had no idea where to start and we kept trying.
CT: I don’t listen to it much but when I do we bank. We were two babies making music with few things and it was great. I personally feel very far removed from who he was, how he sang and what he wrote. Ten years have passed and today I feel like another person with other concerns, another way of communicating, of seeing art and life, but I like the path we traced. Live we always try to play new songs, I think that way we are more faithful to what we are now. It seems important to me to show the freshness of the moment.

What other works, not strictly musical, have you recently been interested in?
CT: Yesterday I saw a movie of [David] chronenberg call Maps to the Stars. In cinema also Brian De Palma, David Lynch. The last book I read was one by Fogwill called a pale love story. And another amazing movie I saw recently is The HungerDavid Bowie acts, is vampires.

How is the feedback between you when composing and choosing the songs for an album?
IP: Everyone sees it their way, but we both like it. We make a lot of songs and if we don’t like one we discard it.
CT: You have to constantly reconcile. It is half and half. If there’s something that either of us doesn’t like, that’s it.

What can you tell us about the conceptual background of “Irony”, the fourth song on the album?
CT: There is a lot of spite. She says “either you give me everything or you give me nothing”, and at the end she says “They don’t care for anyone, they don’t know what love is”. She speaks of a hardened heart.
IP: In the musical part I imagine him Brazilian. For Wen it is more pop.

They recently released the video for “Never”, directed by Tomás Würschmidt and Paz Elduayen, with whom they had already collaborated on the video for “ink” Y “fictionalize”. How would you describe the most poetic aspect implicit in the audiovisual complement of wish wish?
CT: We have been working with them for several years now and we are incredibly complete. In addition, with Tomás we have been working on the entire visual and aesthetic part and it is essential for us to finish encompassing the entire universe that is Weste. “Never” is the first chapter of a story that we filmed. Everything happens in a theater around the “cut woman” trick. The magician cuts his assistant off and something goes wrong. The resolution comes in the second chapter of “Stupor” that is about to come out.

Weste introduces himself on Friday November 18 at 9 p.m. at the Xirgu Theater (Chacabuco 875, CABA), tickets available via passline. Watch the video of “Never” below and listen wish wish on streaming platforms (bandcamp, Spotify, tide, Apple Music).

Weste: “Wish Wish is an album with a share of magic”