On Cutouts, Yorke and Greenwood abandon Radiohead’s exactitude for unguarded spontaneity, posing a looser charm and eclectic edge. Greenwood is the source of their zeal, compelling the band to an expedited workflow. “I’m the most impatient of everybody in Radiohead,” he says, prodding The Smile into expansive new territory. Who knows if this trio would exist without him— would everyone be content scoring films instead? While Cutouts might lack the curatorial/sonic finesse of Radiohead’s halcyon age, it carries the momentum of the trio’s new ethos: raw immediacy over sheen. The urgency is admirable, the improvisation endearing, like jazz clubs or subway cyphers. No more restrained crooning and harmony — they’ve supplemented the sound with jazzy dissonance and microtonal, art-rock sensibilities.

Some of these songs debuted live, with which they met wild acclaim and the cementing of the trio’s status as a momentous live force — with inimitably encompassing performances. These 10 tracks flow much more like a compilation, something on the margins of a Radiohead and Sam Petties-Davies session, not the main course. With Skinner’s nuclear timing on the sticks, the jangly alt-rock palette is imbued with a swingy, jazz-funk feel. Songs like “Eyes and Mouth” and “Tip Toe” are models here: the former feeling like a thumpy film noir staple — a dusk-lit, hazy city stroll, and the latter resting on ambience and keys, pushing you deeper into night, at the edge of a bar, stirring the melting ice at the bottom of your glass.

“Zero Sum” and “No Words” electrify with their upbeat feel, showcasing Greenwood’s insane technical finesse on the guitarwork. They are undoubtedly their best when they come fast and hard. The ambient songs, namely the two introductions, can be compelling, but like the scoring work they’ve done, it renders itself diegetic — blending into the background to make room for central performances. While thematically a bit inconsistent, the common thread is inconsistency— some tracks detune as they fade out, emphasizing the compositional expertise that the trio has carried over from their many high-profile film scoring gigs. While the ambient moments contribute to disjunction, they are no doubt an aural delight, seamlessly washing over you like a droning guitar in the barren desert. The songs break down, and textures detune and deharmonize, not taking such pain to hide the cracks; rather, they emphasize it.

Established in 2021, The Smile comprises Radiohead’s Thom Yorke and Jonny Greenwood, alongside drummer Tom Skinner. The band’s formation came as a response to the need for a creative outlet outside of Radiohead, emphasizing a streamlined approach to music-making. A Light for Attracting Attention marked the band’s debut, praised for its experimental sound and bold artistic choices, setting the stage for their identity apart from Radiohead. Two years later, Wall of Eyes met acclaim but had a slightly divisive effect on diehard fans, with the beginnings of their audaciously evolving experimentation, and Cutouts is slated for release less than a year later. More frequent collaborations and live performances affirm the band’s improvisational skill and thunderous, live, stadium-band energy, simultaneously paying homage to and setting them apart from Radiohead’s more polished aesthetic. This created liberal expectations for the new LP.

This album is less macroscopic in scope, zooming in on relationships and inner worlds. “And your force means nothing/You don’t get me” on “Don’t Get Me Started.” These themes are refreshing and come across as poignant. It doesn’t tackle alienation and technology’s effect on culture as much as other works, but I think new listeners will appreciate this sort of “journal entry” from them.

I must admit, I’m not well-versed in Radiohead, alt-rock or the nuances of rockist journalism, with which Yorke is an iconoclast. My background and tastes lean more towards the hip-hop blogosphere. However, I have great respect for the reverence surrounding Radiohead and acknowledge their profound influence on alternative rock. Their status as masters of the genre is evident not only in their work with The Smile but also in Thom Yorke’s scoring for the Italian film Confidenza. I was pleasantly surprised by the album’s rich jazz influences and how they’re seamlessly woven into the rock framework without feeling like rote imitation.

This album has broad appeal, though those less familiar with their earlier work may appreciate it even more, as it represents a significant shift in cohesion and thematic depth. Regardless, you have to respect it as an earnest passion project and a much-needed reprieve. In this case, obsessive perfectionism can hinder progress and halt more frequent releases.

Pre-order Cutouts HERE