Isn’t it great, or at least interesting, when people not really interested in guitar-based music make loosely guitar-based music? The Cumbrian foursome Wild Beasts now make delicate, pattering art rock, under which trickle gurgling, questioning electronics seemingly informed by Oneohtrix Point Never, Caribou and Emeralds. And, when they play London’s Shepherd’s Bush Empire this Wednesday, both the opening acts will be experimental, firmly electronic—Norfolk’s Luke Abbott and the droning Braids.
Consider the final three songs on Wild Beasts’ most recent album, Smother. “Reach A Bit Further” lopes along simple, repeatable plucked chords but, halfway through, these are supplemented by lingering synthesised chimes and vibraphones which ultimately engulf the track. “Burning” (see above) is even stranger, with salvaged miscellany fashioned into Oriental reeds and reversed-prepared-piano. As the composition builds, massed wailing voices threaten the prettiness, as do gloaming synth pads and Tom Fleming’s forlorn baritone. Finally, there is “End Come Too Soon”, which begins canonically enough but soon drops out into an ambient, drifting passage. When the song, proper, cuts back in, it harnesses the playful experimentation and spurs it on into the anthemic.
This week sees the release of a new Kate Bush album, 50 Words For Snow. Bush is often seen as a reference point for Wild Beasts: both acts are blessed with easily identifiable lead voices, a passion for the pastoral, and also a similar aesthetic in their arrangements. And, according to Joe Kennedy of the Quietus, other contemporary records evoking a similar mood to the Bush album are from as experimental a stable as the acts I mention in relation to Wild Beasts: Burial’s Burial, and Plastikman’s Consumed. The circle, it would seem, has been completed.