Isn’t it too early to declare an Album Of The Year contender? Tell that to Messrs. Yorke, Greenwood, and Skinner!
Despite marking the release date for The Smile‘s sophomore album, “Wall of Eyes”, in my diary months ago, this record caught me off guard. Following June’s release of “Bending Hectic,” accompanied by a fittingly atmospheric clip, and more recently, the Paul Thomas Anderson-directed video for the title track, which we dubbed “beautiful yet beautifully chaotic music,” expectations soared. While I anticipated enjoying this album, I didn’t expect to connect with it as swiftly as I have.
Often viewed as a side project, The Smile distances itself from Radiohead‘s gravitational pull, delving deeper into uncharted sonic territories. Rather than a complete departure from their roots—especially with Thom Yorke‘s distinct vocals front and centre—it feels like an intentional evolution, offering a unique blend of experimentalism and introspection.
The album opens with deceptive serenity on the title track, a mellow strum adorned with Yorke‘s haunting croon. “Wall Of Eyes” navigates through angsty lyricism and time-signature experimentation, with Yorke‘s words guiding us through discordant landscapes painted by Jonny Greenwood‘s sonic wizardry and Tom Skinner‘s rhythmic prowess.
As the album progresses, the mood darkens, drawing us deeper into its mesmerizing embrace. Tracks like “Teleharmonic” and “Read the Room” showcase the band’s skill in crafting tension, with the drums and guitars twisting an ambience of unease beneath Yorke‘s cryptic vocals. Political undertones simmer beneath the surface, hinting at the crumbling facade of societal norms.
Yet, amidst the chaos, moments of ethereal beauty emerge. “Friend of a Friend” captivated me with its Beatles-esque melody and sweeping orchestration, while “Under Our Pillows” transported me through space and time with haunting keyboard vibes.
“I Quit” weaves a mesmerizing sonic tapestry, perhaps the track most reminiscent of Radiohead‘s signature sound. Its drifting melodies and ethereal strings evoke atmospheric depth and contemplation, showcasing a mastery of texture and mood that draws me in with every word.
The album’s magnum opus arrives with “Bending Hectic,” an eight-minute epic defying convention at every turn. Greenwood‘s searing guitar riffs soar over a landscape of atmospheric tension, building to a crescendo of raw emotion that leaves us breathless and yearning for more. Although we had already heard this track, within the album’s context, it takes on new resonance.
As the album gently fades with the lo-fi and cathartic “You Know Me,” Yorke‘s falsetto vocals pierce through the darkness, reminding us of the vulnerability at the heart of their music. With ‘Wall of Eyes’, it’s not the bombast or grandeur that lingers, but the intimate moments, subtle mood shifts, and emotive resonance that leave a lasting impression. The final track, like the album as a whole, strikes a balance between discomfort and serenity, evoking a desire to both curl up and weep while finding solace in the world’s beauty.
While I can’t say how the remaining Radiohead members feel about their cohorts “wasting” these songs on their new band, Yorke and Greenwood, undoubtedly aided by Skinner‘s virtuosity, sound utterly reinvigorated with this project.
From its opening note to its final whisper, “Wall of Eyes” sets a high standard for 2024’s music releases.
‘Wall Of Eyes‘ is out now on XL Recordings
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