Upstages Everyone Else on Their Label.
Are the words 'critically acclaimed' a kiss of death? Perhaps in some circles, it's code for 'look how amazingly cool I am for liking this.' Urgh. After nine years and two previous albums that got the dreaded designation, the London-based (but previously of Leeds and originally Kendal) four-piece are trying to add commercial to critical success with third effort "Smother".
This album was recorded in Snowdon, at the base of Wales' highest landmark and is an altogether more consistent body of work than the Mercury nominated "Two Dancers". More synthy than the previous work, you can expect pianos and a falsetto, think Matt Bellamy without his tinfoil hat. But make no mistake, this is no Hyper Music. A far more thoughtful use of beats and sound is incorporated throughout, a real sense of light and shade with no stodgy walls of sound to slam through. This is snap it with your fingers brittle and it allows them to highlight their intelligence and desire to be different. If you want high energy, you're better off looking elsewhere. Rather than whining about international super conspiracies, the lyrics here are far more personal, there's no time for governments when they've got their own problems to face.
So by not giving it the full 13, what went wrong? Opening effort 'Lion's Share' is a little muddled with none of the clarity possessed by the other tracks. It feels like it's building to something but instead segues into 'Bed of Nails' and while it picks up the slack admirably, on it's own, it just feels a little bit lacking. There are moments when ambition gets the better of them, but at no point did I want to turn the album off.
The music is metronomic but well-designed, especially on the tide-like 'Burning', where there's a real Boards of Canada vibe with sweeping pads and synthetic choirs adding to an understated arrangement and strong vocal performance. The standout track though is the amazing 'Deeper'. Tom Fleming takes over vocal duties for this hypnotic Cure-infused work. His voice is richer and more cutting than bandmate Hayden Thorpe. If it doesn't headline every chillout album in the next decade, the people picking the music should be sacked. It's a different intensity from what you'd expect from any synth-influenced (synfluenced?) band, evoking common themes of vulnerability and regret through such a deep sound.
These are ten very special tracks and I'm certain that the important musical press will find it agrees with them. "Smother" could be derided as middle-class emo but this is far too thoughtful and deep for that. A thinking man's Hurts or Stateless, this might be the commercial breakthrough Wild Beasts are probably not at all bothered about. If you've never heard their first two albums, you are simply doing your ears a disservice. Don't let music critics have all the fun. Go out and acclaim this. It's beautiful.