Cutouts, the newest record from the Radiohead offshoot The Smile, continues to further their experimental rock credo. In Cutouts, the group pushes creative boundaries while providing biting social commentary through metaphor-packed lyrics. The band’s second release in this year alone, Cutouts was recorded around the same time as Wall Of Eyes and marks the third overall release from the band.
The opening track “Foreign Spies” sets the scene for the record with an ethereal meandering synth whose drone accentuates the lead singer Thom Yorke’s vocals. The track’s entirely electronic composition feels minimal yet floating and free in a way that mirrors the lyrical undertones of paranoia and distrust with a gilded/successful society.
The follow-up “Instant Psalm” builds on the electronic elements established in the opening by layering in drum and bass elements alongside a string section from the London Contemporary Orchestra. The track’s crescendoing strings and synths clash with the steady bass, creating a whirlwind of conflicting instrumentals. These choices bolster the metaphor-dense lyrics that speak of interpersonal conflict through comparisons to storms and drowning. I found the phraseology of “wind blows emptiness” and “loneliness a way to drown” an interesting way to describe Yorke’s disillusionment with personal squabbles.
After this, “Zero Sum” shifts the temperature of the record by doing away with the ethereal/ambient synths in favor of high tempo drumbeats and complex guitar chord progressions, with this choice supported by the cut’s short and choppy lyrics. Lyrically, the track contrasts wealthy extravagance with a world heading in the wrong direction while utilizing a comparison to Windows 95 to allude to the system being outdated. Yorke’s lyrics skillfully collude with the fast-paced intensity of the instrumentals to further support the urgency of updating the “Windows 95 system.”
With a similar plucky guitar and peppy soft drumbeats, the next track “Colours Fly” carries itself in a more relaxed manner. Extended instrumental bridges and shorter lyrics put the track’s emphasis on instrumentation. The track feels most lyrically connected to “Instant Psalm,” thematically although it seems to reference broader implications through “’Cause we can’t escape.”
In what is likely one of my favorite tracks on the record, the sonically pleasing “Eyes & Mouth” greets the ear with a beautiful combination of soft keys, prominent/steady drumbeats, and entrancing treble-rich guitar riffs over one of the best vocal performances as well. The lyrics feel incredibly vulnerable with recurring motifs of glass to suggest an emotional barrier in a relationship and the phrase “just eyes and mouth” to indicate how unrecognizable this other individual is. I loved how the first verse and the outro both begin the same as it mirrors the constantly shifting personality of the other individual, making the track feel like part of a greater cycle
The follow-up “Don’t Get Me Started” takes a more reserved approach. It starts rather slowly with a bassy synth and eventually builds into ambient keys with a high tempo drumbeat, giving the track a shot of energy. Although the vocals are appealing sonically, lyrically the track leaves something to be desired. I think additional verses after the choruses might make this track feel a bit more complete.
Diverging from many of the electronic compositions earlier on the record, “Tiptoe” features a beautiful orchestral accompaniment from the London Contemporary Orchestra and evocative keys from Yorke. The track’s lyrics feel almost poetic in structure and delivery, with Yorke lamenting about the drab nature of an isolated consumerist society. While this track feels slightly out of place, I still find it incredibly moving and appealing.
“The Slip,” very effectively packages similar commentary presented in “Zero Sum” into a catchy, well-crafted rock track. I find the layering of bassy synths and electronic drums with the sharp acoustic drums and electric guitar particularly satisfying. It felt like classic 90’s rock with a modern electronic twist. The incredibly catchy lyrics bolster the strong instrumentation with their references to climate change, nuclear war, and the role that global leaders play in the future.
In a similar style to the rest of their catalogue, the plucky bassline on the track “No Words” drives the instrumentation alongside an incredibly rich drumline. I find the lyricism of this track to be particularly interesting. The lyrical themes of conformity and nihilism are furthered by the track’s use of repetition, with each verse sharing the same beginning and end.
Rounding out the record, the track “Bodies Laughing” lacks many of the electronic flairs of earlier tracks. It opts for snare drums with soft acoustic riffs, giving the track a melancholic tone. This tone is further expanded upon through lyrical themes of apathy and callousness toward others. I found the imagery of this track to be especially poignant – the bridge juxtaposes difficult-to-witness sights and sounds with the phrase “bodies laughing” (with the term “bodies” further removing the human element from it).
Overall, I find this record to be an incredibly enthralling and immersive experience from start to finish. The incredible diversity of sound and The Smile’s fascinating blend of electronic and rock elements wowed me, although I found primarily electronic tracks like “Foreign Spies” to be somewhat less appealing in comparison to other tracks. I think my slight dislike for this track stems from the compelling riffs and acoustic drumlines on tracks like “Zero Sum” and “The Slip” and how much they elevate their respective tracks. The instrumentals aside, Thom Yorke also delivers stunning vocals throughout the project and demonstrates flexibility in his vocal range as well. Cutouts delivers stunning lyricism that feels familiar to any Radiohead or The Smile fan.
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