As English rock giants Radiohead maintain a recording absence through the 2020s, side projects from the five band members reign supreme. Guitarist Jonny Greenwood’s last film scores for Spencer and The Power of the Dog received their usual praise. Ed O’Brien (EOB) and Philip Selway felt more hit-or-miss, and the works of vocalist Thom Yorke gained far more attention than the other members. When Greenwood, Yorke, and a fresh new drummer united for brand new music during COVID lockdowns, Radiohead fans put the highest expectations possible on this new group, The Smile, and thankfully, their second album delivers most of what everyone wants once again.
Even With Lesser Side Projects, Radiohead Continues to Endlessly Succeed with The Smile
Since the second Radiohead LP, which transformed the alternative rock band from a one-hit wonder into a critical phenomenon, Yorke and co. have stayed at the top of their game. Minor dips aside, fans concur that no matter the pathway, these Englishmen cannot fail, and The Smile reflects that career arc with massive affirmation. Even side-by-side, the two The Smile albums have distinct approaches under the new label’s umbrella, with Wall of Eyes being the softer, more slow-burning, and, by many accounts, more rewarding of their releases.
The debut of the new group, entitled A Light for Attracting Attention, found Yorke, Greenwood, and Sons of Kemet drummer Tom Skinner digging into the roots of Radiohead’s appeal, and the resulting thirteen snapshots the band produced all blended into a jagged yet refreshed single picture for The Smile. Likely, no one outside of Radiohead lovers would get it, but erring on the side of shorter track lengths diminished the difficulties of engagement for many memorable moments. Wall of Eyes goes the other direction, implementing longer tracklists, more patience, and subtle moods listeners will find moving if they listen closely.
Some Call It Perfect, Others Agree ‘Wall of Eyes’ Is Merely Great
Due to their differences, both records are in equally good standing in the extended Radiohead universe, but Wall of Eyes’ one flaw is a lack of instantly gripping tracks – most tracks reside best in a full-album listen. The singles bode well individually, though, especially “Bending Hectic” and “Friend of a Friend.” The latter is the shortest song on Wall of Eyes, gently simmering with an almost Fiona Apple-evoking light-jazz style, while the former intensely slow-burns leading into a devastating climax. Even with brilliant moments, it will feel to some like a Dark Side of the Moon without “Money.” Though that may bring the record down a notch in some views, fans online heartily disagree with this sentiment.
Especially for Radiohead folks, Wall of Eyes is essential listening. Every nuanced, Radiohead-friendly method comes across here, shimmery and occasionally sinister with skronky grooves and free-flowing yet intentionally composed outcomes. Diehard fans and critics have quickly labeled Wall of Eyes as an early 2024 masterpiece and the best of the year, but unlike The Smile’s debut, this may be easier to put outside of the top albums once the year goes by. Regardless of personal discrepancies, calling Wall of Eyes anything other than an impressive record will surely get you called out for trolling on par with blasphemy.
Wall of Eyes is streaming now wherever you listen to music.
