Wild Beasts' third album, Smother, was recorded in the mountainous Welsh region of Snowdonia, a fact that seems to inform the sense of isolated intimacy in which this record revels. Some of the urgency of 2009's Mercury-nominated Two Dancers has been lost in favour of a slow-burning, more melancholic atmosphere; however, the most distinctive (and divisive) element of the band remains: Hayden Thorpe's voice. An astoundingly theatrical croon, its Antony Hegarty-esque falsetto tendencies are more restrained than they have been in the past, with its beauty often accentuated by the increasingly prominent contrast of Tom Fleming's baritone.

Thorpe's vocals actually become one of the record's most inviting elements, an emotionally expressive and direct counterpart to some of the more minimal instrumentation on display here. Slow-burning opener 'Lion's Share' is an excellent example of this: backed only by an understated piano melody and a slow plod of synthetic bass, the soaring vocal takes centre-stage. It is fitting that Thorpe cries, "Boy, what you running from?" - a suitable challenge to any listener initially put off.

The musical palette established on 'Lion's Share' remains throughout the album, which sees varied use of synthesized elements around a base of intricate guitar and piano lines. That is not to say Smother is without its surprises: from the 80s synth on danceable stand-out 'Bed of Nails' to the driving percussion and complex vocal interplay of 'Reach a Bit Further,' the band still throws the listener some musical curveballs. It is perhaps Wild Beasts' assurance here that creates an overwhelming sense of cohesiveness throughout, quite an achievement for a work that is still varied and interesting.

The same consistency is found in the lyrical content, with the main focus being on the dark and often erotic elements of relationships. There is a restless creativity in some of Thorpe's oddball wordplay, with lines like, "I find you hidden there a veiled creature of the deep, / Waifish as a widow and without sufficient sleep," verging on the ridiculous yet remaining curiously apt. Another mark of their experimental streak is the unsettling and sensual 'Plaything,' which sees Thorpe lingering over such lyrics as "New squeeze, take off your chemise / And I'll do as I please" before concluding "I concur   I conquer." A singular and even brave exploration of selfishness in relationships, the track only cements the impression that, though they may have eschewed some of the insistent energy of their previous sound, Wild Beasts refuse to be boring.

It is tempting to revert to cliché and assert the truth of Thorpe's final insistence that "the end it comes too soon" on the majestic, swirling final track. However, the end possibly comes at just the right time. Wild Beasts have created a stunningly immersive and affecting record, with its ten tracks seeming isolated yet inviting as they draw the listener in and demand repeat listens.