Review: Wolf Alice- "The Clearing" Album
Sometimes an album or release can perfectly speak to a moment or period of your life. ‘My Love is Cool’ soundtracked the angst of adolescence, ‘Visions of Life’ shows a more positive entry into early adulthood, ‘Blue Weekend’ gave us colour in the greys of commuting life. Our generation grew up with this relatable progression from Wolf Alice and here we are today for the 4th chapter, ‘The Clearing’.
In this release the band welcomes a new tide of 70s soft rock influence whilst maturing in class and quality. The tracks from start to finish, Ellie’s vocals and the band’s instrumental compositions are so rich in flavour. This is unapologetic proof that Wolf Alice have been and still are at the top of their game.
A perfect introduction, soft piano chords take us into ‘Thorns’, the first of many signature anthems on this record. Ellie’s lyrics share self reflections of a performer, whilst showcasing her extensive vocal range.
The intentions behind this track and the rest of the album are clear,
This is to be performed.
Perhaps this intention has always been obvious with their discography, but in a time where live music and venues are in jeopardy, performance has never been so important. ‘The Clearing’ has early-on already called for a standing ovation, with the first track topped off by Rowsell’s isolated voice softly echoing until the end.
A familiar track, Kate Bush like, ‘Bloom Baby Bloom’ elevates the energy, but again, piano involvement and larger than life production. Ellie’s vocals shine, something which is a consistent feature of this album.
It is Rowsell’s beauty in writing which is exemplified on the next two tracks, ‘Just Two Girls’ an insight into female friendships, whilst ‘Leaning Against the Wall’ is an acoustic led song, telling a visual story of attraction, falling in love and reminiscence. What strikes me is this husky voice she adopts whilst uttering “I use the courage of white wine”- a sentence anyone who has been in the same situation is very familiar with - as it gives a sense of maturity in a playful way.
Although she continuously steals the show on this collection of anthems, the band continue to remind you of their togetherness in subtle ways - the drum solo at the end of track 4 and the scattering of vocal harmonies throughout.
A strength of Wolf Alice has been their extended and journey-like outros to tracks, often when you least expect it. ‘Leaning Against the Wall’ once again demonstrates this.
‘Passenger Seat’ is a culmination of folk, Americana and acoustic melodies. You can’t help hearing hints of Stevie Nicks in Ellie’s singing, firmly in line with the 70s soft rock inspirations. With half of the album to go, ‘The Clearing’ already feels fuller than most albums in their entirety. It’s a buffet of sonic flavours, each track so full bodied, they feel so complete, as if they could stand alone as singles effortlessly.
The experimentations of the band in this record are so reassured, they understand their capabilities, filling us generously with their creative output whilst not overdoing it.
‘Play It Out’ is certainly a vibe shift. An introspective piece looking back at childhood and coming of age. As a midpoint, it feels like a reminder to the listener and the band themselves, we are growing together, we were once so young and unaware. She repeats ‘just let me play it out’, once again inner thoughts of a true performer.
The 70s soft rock influence, up until this point, has been partial, but it really shows on ‘Bread Butter Tea Sugar’. Heavy electronic guitar involvement and a swinging piano rhythm dominates throughout. The meaning itself accepts impurities in life, yet this acceptance is enjoyed;
“I feel bad suits me better”
Nearing the end of this wonderful album are a duo of tracks that bring vintage Wolf Alice to the table. The ethereal vocals of the steady ‘Safe in the World’ crescendo and fall back similarly to ‘Silk’ on their very first album. Whereas ‘Midnight Song’ is chilling, goosebump inducing, soft again in vocals but so otherworldly. I’d compare to ‘She’ but each track stands out in their own divinities.
It's at this point you can look back at the full release and appreciate how structured and sensible the order of tracks is. They showcase their range and arsenal of indie-ballad talents in such an appropriate and proportionate way.
Recently released ‘White Horses’ comes next, a return of the drummer Joel Amey’s vocals which haven’t been in the forefront since ‘Swallowtail’. It is the epitome of Wolf Alice, rhythmic bounciness, Ellie on the song breaks belting away, the band coming together to sing harmoniously on the chorus. Pure energy.
I shamelessly apologise for repeatedly bringing it up, but the attention to detail and careful choices couldn’t be summed up better than placing ‘The Sofa’ at the very end. A ballad, embracing the imperfections of unproductivity, recklessness and thoughtlessness. Here we hear honesty, after a tidal wave of tracks made for musical performance, the band tells us they have normal wants and needs outside of music. Don’t listen to the plague of life coaches, maturity can often mean freedom in decision, your every move doesn’t always have to be so impactful and purpose-driven.
This is not just a 5-star album, it’s a reinstated deep connection with their fan base but also a reminder that album arrangements still matter. Maybe unintentionally, the band have fought against opposing forces in the music industry right now. They have shone in another avenue of sound yet maintained a purpose behind their work, you can’t help imagine what this would be like on stage.
I hope the band knows, we needed this right now.
For upcoming tour dates for The Clearing, please click here
To order the album, click here
Find out more about Wolf Alice below
Written by Brandon Purmessur
Brandon is a music journalist in Bristol who enjoys writing as well as hosting radio shows and video interviews. Beyond music, he enjoys working with the community and learning about other cultures.
Opinion
