(Domino)

The wild things are here.

I first encountered Wild Beasts during an alcohol-fuelled evening in Brooklyn, New York early last year. Arriving with zero expectations yet spurred on by a friend’s recommendation, I was struck, not only by the fascinating voice of Hayden Cross, but also by the sexually charged nature of their live show. The indie rock band from the north west of England were touring their sophomore record Two Dancers, a release that garnered a Mercury Prize nomination in 2010 and signalled a group with a knack for describing working-class anxiety in deeply poetic manner. The group’s third record, Smother, continues to draw on this rich vein of creativity and, despite being more introspective and less sexual than Two Dancers, it remains equally as enjoyable – if not more so – than its predecessor. There is a temptation to describe Smother as the record that truly shows the dynamism of Cross’s unique counter-tenor voice. However, this underplays the vital contribution of compatriot Tom Fleming, whose huskier delivery (reminiscent of Elbow’s Guy Garvey) often accentuates the record’s more pivotal moments, such as on Burning, where Fleming’s brooding seems to clearly spell out the record’s underlying theme – that of self-conscious contemplation tinged with regret. While both members alternate vocal duties from track to track, it is when they converge where Wild Beasts – as a band – prove to be truly remarkable, particularly on tracks such as Lion’s Share and Reach A Bit Further. It is difficult the performances on Smother, the record showing Wild Beasts as intelligent songwriters and worthy of the critical accolades they continue to receive.

****½

DARRAGH MURRAY

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