As the music world perpetually seeks fresh voices and new directions, there emerges a record that refines the known and ventures into the sublime. “Wall of Eyes,” the second studio album by The Smile, stands as a testament to this journey. The trio, comprising Thom Yorke and Jonny Greenwood of Radiohead fame, along with Tom Skinner of Sons of Kemet, delivers an album that resonates with seasoned craftsmanship and exploratory zeal.
At its core, “Wall of Eyes” is an album steeped in the familiar auditory landscapes that have become synonymous with Yorke and Greenwood’s works. The album navigates through a terrain of emotional disquiet and existential contemplation, hallmarks of their previous outputs. Yet, it is in the ease with which this album unfolds its narrative that it distinguishes itself. Each track is a testament to the trio’s ability to balance the darkness of its themes with the lightness of its musical composition.
From the outset, “Wall of Eyes” confronts its listeners with the lyrical dichotomies that have defined Yorke’s writing style. Songs like “Read the Room” and “I Quit” are imbued with a sense of weariness and resignation. However, it’s not just the lyrics that tell the story; the album’s sonic landscape plays an equally vital role. Skinner’s jazz-infused drumming injects a fresh dynamism, weaving through the tracks with an agility that accentuates the album’s thematic complexities.
racks such as “Teleharmonic” and “Friend of a Friend” showcase the band’s ability to blend disparate elements into a cohesive whole. There’s a sense of fluidity and experimentation, with Latin rhythms and orchestral arrangements dancing around Yorke’s distinct vocal delivery. The orchestral arrangement in “I Quit,” in particular, is a highlight, providing a serene counterpoint to the song’s brooding bassline.
“Bending Hectic,” the album’s centrepiece, epitomizes The Smile’s creative ethos. It starts with a folky, fingerpicked guitar pattern before delving into a realm of sonic disarray characterized by screaming strings and distorted guitars. This track is emblematic of the album’s ambition – to create music that is both familiar and boundary-pushing, a bridge between past and present.
Yet, not every experiment on “Wall of Eyes” hits the mark. “Under Our Pillows,” for instance, feels overwrought, its shifts in tone and texture coming across as disjointed rather than innovative. It’s a reminder that even in the hands of seasoned artists, the balance between experimentation and coherence is a delicate one.
Sam Petts-Davies’ skilled hands in charge of the production further elevate the album. There’s a richness and depth to the sound, with each element – be it the glitching guitar in “I Quit” or the haunting strings in “Teleharmonic” – meticulously placed to build an immersive auditory experience. The album’s live-band feel, a rarity in today’s digitized music scene, adds to its charm, making “Wall of Eyes” a record that’s as much a joy to listen to as it is a complex narrative to unravel.
“Wall of Eyes” is an exploration of the spaces between the familiar and the unknown, a testament to the enduring creativity of its architects. It stands as a beacon of how side projects can transcend their origins to become significant artistic statements in their own right. It’s a record that demands attention and rewards patience, a nuanced addition to the discography of artists who have long mastered the art of musical storytelling. As Yorke, Greenwood, and Skinner continue to evolve and challenge themselves, “Wall of Eyes” serves as a compelling chapter in their ongoing narrative – one that’s imbued with challenges, surprises, and undeniable beauty.
Photograph: Frank Lebon
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