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With only so many notes in the chromatic scale, the triumphs of countless artists preceding them and only one
major release under their belts, such a momentous work of splendid art as Kendal indie eccentrics Wild Beasts
have produced in Two Dancers was not a foregone conclusion.
It just wasn't supposed to happen yet. �After
all, this is a band fronted by Beverly Sills and Antony Hegarty
impersonators who make effervescent guitar pop a la Orange
Juice with Morrissey-esque existentialist prose. �Sure, their 2008 debut Limbo, Panto
foretold an ascent to greatness for the unique outfit, but it still assumed that they'd require a few more releases
and some time to grow before achieving that greatness.
So what happened to the years of mis-steps and misguided tangents
of extreme quirkiness that were supposed to follow?
Apparently, Wild Beasts have no time for such diversions. �A little
more than one year has passed, and already the group has delivered on
their promise of potential tenfold. �That will do just fine for the
listeners, thank you very much - it's straight to the magnum opus,
then!
Two Dancers is a gift, saturated with sensuality in every facet of
its being.
Melodically, each track shows the band to be more patient,
deliberate, and successful with their ideas (and, for the most part,
tempos) when compared to those on their first effort. �Whereas some
Limbo, Panto selections, such as the deliciously raucous Brave Bulging
Buoyant Clairvoyants, would at times buckle under the weight of
ambition and derail aimlessly, Two Dancers' tracks
never show any signs of weakness.
Instead, the listener is treated to one magnificent beauty after
another. �Ethereal, reverberated, arpeggiated guitars float about
gentle caresses of piano on the outstanding lead single Hooting &
Howling, establishing a melodic theme that those same elements repeat
in the exquisite Underbelly, as well as the haunting, second
incarnation of the title track. �In the first part, the
scope is broadened dramatically with the help of distortion alongside
more generous helpings of reverb, so as to completely envelop the ears
as the tribal percussion does the same to the rest of the body.
Maturation is also inherent in the group's especially distinctive
vocals and lyrics. �Hayden Thorpe, armed once again with his sweeping,
operatic falsetto, does well to temper his penchant for coupling his
arias with caustic growls. �This time, he reserves his screeches and
yelps for more opportune moments, such as the declaration that they
are "just brutes" in Hooting, or his acting as the harem surrounding
his throaty counterpart Tom Flemming (who balances him well on this record) in the delectable All the King's Men.
Lyrically the band exudes great confidence as the two crooners
spin kinky, somewhat disturbing yarns that contrast the beauty and
majesty of the album's instrumentation. �Wild Beasts wish to make both
the skin and mind goose-pimpled with intelligent and explicit phrasing
such as "when we pucker up, our lips are bee-stung," which simmers
within the chorus of the splendid selection We Still Got The Taste
Dancing On Our Tongues.
Arguably the most endearing aspect of Two Dancers is its
extraordinary production, which does incredibly well to ensure
that their brilliance is presented cleanly to, instead of
imposed upon, the ears of the listener. �Wild Beasts themselves, along
with engineer Richard Formby, are responsible for the impeccable
arrangement of every beautiful nuance comprised in each song, and in
turn elevate absorption of the music to a transcendent experience.
As the subtle, off-tonic final note puts to bed the album closer The
Empty Nest, and with every aspect of the record exceeding expectations, Two Dancers makes a strong case to be named album of the year.
Yet if this release has taught us anything, it is to not assume
what is and isn't possible in music. �Ignore speculation, and simply
make time to bask in the seemingly endless supply of luxurious
delights contained within this stunning achievement.
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