In 2022, the supergroup trio The Smile released A Light for Attracting Attention to significant critical and commercial acclaim. It’s not a surprise, considering the trio includes Thom Yorke and Jonny Greenwood, one of the most accomplished songwriting duos of the late 20th century and early 21st century.
On the album, the pair and Sons of Kemet drummer Tom Skinner delivered a cogent analysis of life during Covid. The album was filled with post-punk riffs, Afro beats, jazz free form and large slices of Electronica. It reflected everything Yorke and Greenwood had learned from Radiohead and their long list of side projects.
The band would embark on a tour that same year. Concertgoers were treated to live versions of the songs from the album with additional jam sessions and smatterings of new tracks. These improvisational live outings would produce a plethora of material that would become The Smile’s much-anticipated release, Wall of Eyes.
Where the first album saw the band freewheel about in some of their favourite genres, the latest release is a bit more introspective lyrically but returns to offering up a vast menu of sonic sources. On Wall of Eyes, Thom Yorke examines the underlying melancholy of realizing the ironies of life remain. Additionally, Greenwood displays his mastery in string work from his Radiohead incarnation and exceptional orchestral soundtracks. Throughout the eight songs, the listener can pick out various hat tips for just about every album in the Radiohead discography. The mastery is palpable as the songs swing from esoteric genres to middle-of-the-road pop selections.
Wall of Eyes sees The Smile hone down from the thirteen offered on the debut to eight tracks on this outing. Beginning with the title track, “Wall of Eyes”, opens with a King of Limbs vibe. It has an ethereal stream-of-consciousness feeling till it breaks into a synth segment that delivers more sinister undertones. Yorke’s vocals twist and turn throughout the track as he points out how undeserved we are to live as well as we do and the expense to those less fortunate. The track ends in a cacophony as the ride through this album begins.
“Teleharmonic” could have come straight off A Moon Shaped Pool. It is loaded with echoing vocals, punctuating drums and spiralling synths. The threads of this track bob and weave to produce a glorious sound experience. Lyrically, Yorke is wondering where all of the machinations of society are heading, best expressed by the questioning chorus, “Where are you taking me?” From the two slower tracks, “Read the Room” shakes things up. The song reveals a wonky guitar riff and tosses some seriously weighty bass. This is Greenwood’s guitar playing of old, attacking the guitar as Yorke slips back to his “Brat Yorke” of the Bends era persona. Lyrically, Yorke argues with those caught in their ego trips and does not see how we are careening down the road to hell. Also to be admired is Skinner’s rhythm and blues style drumming.
“Read the Room” is one of the most satisfying tracks on the recording until “Under Our Pillows” unspools. This masterwork is addictive with a tremendous guitar opener, lovely jazz undertones and Skinner’s inspired drumming. The construction of this song is walking a tightrope as it delivers three distinctive sonic parts. It started with a meld of rock and jazz, then twisted into a psychedelic dream and stuck the landing with an interstellar vibe that could have been the continuation of “Motion Picture Soundtrack” off of Kid A. The track is a definite must-listen on the album.
“Friend of a Friend” could be characterized as a tribute to piano pop, think Paul McCartney or Neil Finn. It begins with a stripped-down piano, adds drums and then Greenwood’s beautiful strings at the back half. It has the glorious feel of “A Day in the Life” meets “The National Anthem.” “Bending Hectic” delivers the vibe of an after-hours venue. Yorke’s vocals take the forefront as we get another slice of Greenwood’s impeccable strings. The lyrics discuss control and the need to let go of the steering wheel to let life happen. The song clocks in as the longest on the album at over eight minutes, but the payoff to the song is at the end as it terminates in a vast, anathematic, Ziggy Stardust closing. Greenwood aptly transitions from the beautiful strings to a magnificent guitar explosion that is not to be missed.
The final track, “You Know Me”, turns that sentiment on its head as Yorke suggests we can never really know another person; we are all unknowable to each other, “Don’t think you know me, don’t think that I am everything you say…” The apt piano and whispery vocal build tension as a string fusillade brings the album to a close.
Wall of Eyes displays that both Yorke and Greenwood, assisted by Skinner, are never afraid to walk the path less trodden. They expertly weave genres that, on paper, should not work and come up with engaging results. Yorke and Greenwood have nothing left to prove but to continue experimenting, seeking excellence in the studio.
Wall of Eyes is a must-have addition to any serious Radiohead disciple’s collection. However, the album can stand alone as a carefully written piece of sonic artistry. Fingers crossed that the time spent in the lab with these three sonic scientists will eventually assist in creating a spectacular new album from Radiohead when the five members reconvene. Wall of Eyes is a work of itself but could easily be an amuse-bouche for the next mind-blowing Radiohead album. Regardless of that occurring, Wall of Eyes is an enriching listening experience.
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