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After three songs on The Smile’s second album, Thom Yorke expresses his frustration. He sings “It takes away, it takes the fun out” as a response to the sharp guitar riff in “Read the Room”. He questions whether he can even be bothered anymore. Those familiar with Yorke’s music may not be surprised by this sentiment. Throughout his career, his lyrics have explored themes of fear, anger, despair, and boredom. This is evident in “Wall of Eyes” where he describes unsettling situations and hints at something terrible happening just out of view (“Don’t let them take me”, “Stop looking over our shoulder”). The album also includes a track called “I Quit”. The subjects of Yorke’s songs are often vague (the main character in the title track could be an oligarch or tech billionaire; the “user” who is blocking Yorke’s light in “You Know Me!” could be a hanger-on, critic, or someone else entirely), but the overall mood remains consistent. The only exception is a whimsical moment in “Bending Hectic” where Yorke imagines driving through the Italian countryside in a vintage convertible from the 60s. However, this is short-lived as the song quickly turns to thoughts of death by car crash, in true Ballardian fashion. Overall, the album stays true to Yorke’s signature style.
Whatever it is that Yorke can’t be arsed with, it’s clearly not music. Indeed, it’s hard to think of any major rock artists who are evidently more arsed than him and Radiohead’s other members. It’s nearly eight years since their last album, A Moon-Shaped Pool, the longest gap in their career. But the interval has been filled with a torrent of solo projects, film scores, contemporary classical pieces, remixes, activism and two albums by the Smile, which unites Yorke and Radiohead guitarist Jonny Greenwood with Sons of Kemet drummer Tom Skinner.
The Smile’s 2021 debut, A Light for Attracting Attention, caused some observers to wonder whether Radiohead had a future: here were the band’s two most recognisable members with a set of songs that dipped into Radiohead’s catalogue of unreleased material – Open the Floodgates, Skirting on the Surface – and that moreover sounded like Radiohead. It was entirely possible to admire the swing and exploratory tone that betrayed drummer Skinner’s background in jazz and wonder exactly what the Smile were doing that Radiohead could not.
Maybe the explanation is more psychological than artistic. Similar to their debut album, it would be difficult to label Wall of Eyes as anything other than reminiscent of Radiohead. However, despite the heavy themes of unease and darkness, there is an unexpected sense of comfort present throughout much of it. This could possibly be attributed to Yorke and Greenwood creating music without the pressure and weight of expectations that come with every Radiohead release. (Even the satirical Trumpton-inspired music video for Burn the Witch from A Moon-Shaped Pool was interpreted by some as a commentary on nativism.)
The title track and Teleharmonic feature pleasant chord progressions and subtle Latin rhythms. Friend of a Friend has a laid-back charm reminiscent of 1970s singer-songwriter albums, with a beautiful melody similar to something Paul McCartney might write. However, the song is contrasted by eerie, dissonant strings that create a horror-movie atmosphere. I Quit follows a structure that may feel familiar to fans of Radiohead’s music, with a melancholic and meandering tone driven by its bassline. However, this time it is interrupted by a straightforward and lovely orchestral arrangement.
The music is both inventive and natural. However, the track Under Our Pillows may come across as trying too hard, as it transitions from complex guitar riffs to dark ambiance to a driving pulse without delivering a strong emotional impact. Despite the use of electronic effects, such as the glitching sampled guitar in I Quit and the haunting synth tones in Teleharmonic, Wall of Eyes maintains the energy of a live band playing together. This is especially evident in Skinner’s drumming, which is particularly impressive on Read the Room. Around the two-minute mark, Skinner breaks the laid-back beat with a series of intense fills that border on chaos, almost threatening to derail the rhythm completely.
The album’s standout track, “Bending Hectic,” begins with a folky fingerpicked pattern similar to Harry Nilsson’s “Everybody’s Talkin’,” but with an added sense of dissonance. The guitar’s tuning pegs seem to be constantly adjusted throughout the song, lending to its exploratory nature. The rhythm then shifts into a slow-motion shuffle, accompanied by soaring melodies for a few minutes. Suddenly, the music stops and is replaced by a wall of screeching strings, reminiscent of “A Day in the Life” and the Psycho soundtrack. The song then resolves into a distorted, gritty guitar-driven climax. This dynamic and intense track is a testament to Yorke and Greenwood’s creativity and talent, making it one of their best in years. Unlike the rest of the album, “Bending Hectic” does not feel like a filler track, but rather a standout piece. As for what this means for Radiohead’s future, it is up for debate. However, there is no denying the quality of Wall of Eyes as a whole.
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2018
The release date for Wall of Eyes is January 26, 2018.
music
Alexis spent time this week listening to music.
The song “Inclination” by Steven Wilson has been remixed by Ewan Pearson.
Ewan Pearson adds a touch of sunny Balearic euphoria to the remixes of Wilson’s latest album, The Harmony Codex, which feature collaborations with artists ranging from the Manic Street Preachers to the BBC Radiophonic Workshop.
Source: theguardian.com
