The Smile's Wall of Eyes: A Subtle Evolution of Sonic Exploration -

THE BEST RECORD OF THE YEAR : Number 4

The Smile’s second album, Wall of Eyes, reaffirms that Thom Yorke and Jonny Greenwood’s latest project is no mere side hustle – it’s a thriving, dynamic force in its own right. Building on the groundwork laid by 2022’s A Light for Attracting Attention, this new release feels more expansive yet subtle, drawing in elements of psychedelia, motorik rhythms, and orchestral flourishes courtesy of the London Contemporary Orchestra.

With Tom Skinner of Sons of Kemet anchoring the trio on drums, Wall of Eyes shifts away from the frenetic energy and fury of its predecessor, opting for a more introspective, layered approach. The album breathes and unfurls at its own pace, creating a listening experience that feels immersive and fluid. Tracks like “Friend of a Friend” demonstrate The Smile’s evolving sound, blending Yorke’s melancholic piano with strings that swell and unsettle. The song, a meditation on lockdown-era Italian balconies, weaves in moments of suspicion and tension beneath its deceptively simple exterior.

There’s an organic quality to much of Wall of Eyes, likely a result of The Smile’s recent touring. Many of these songs have been road-tested live, mutating over time before finding their way onto the record. “Bending Hectic,” a slow-burning epic, initially surfaced as a standalone track but now fits seamlessly into the album’s broader narrative. Similarly, “Under Our Pillows” and “Teleharmonic” have long been part of the band’s live repertoire, their recorded versions feeling like polished snapshots of evolving compositions.

Though comparisons to Radiohead are inevitable, The Smile feels like a vehicle for Yorke and Greenwood to sidestep the immense expectations that accompany any Radiohead project. Here, they appear looser, freer to experiment. Skinner’s presence adds a new dimension – his jazz background threading through even the most structured tracks, offering unexpected rhythmic detours and textural shifts. “Read the Room” showcases this interplay perfectly, its relentless groove dissolving into a hypnotic motorik jam that could stretch on indefinitely.

However, Wall of Eyes lacks the immediate punch of discovery that marked their debut. It’s darker and more subdued, demanding repeated listens to fully appreciate its intricate details. New listeners might gravitate towards the raw urgency of A Light for Attracting Attention, but those willing to sit with Wall of Eyes will uncover layers of beauty and complexity. It’s a testament to Yorke and Greenwood’s enduring creative chemistry – a quieter yet equally compelling entry in their evolving catalog. The Smile may still exist in the shadows of Radiohead, but with Wall of Eyes, they’re carving out a space that feels increasingly essential.