Wolf Alice: The Clearing
Album releases are a time when feelings mix for Wolf Alice fans. There are feelings of excitement at the promise of new music, but also feelings of apprehension. Will it be as good as the last album? It's not a new feeling; before the release of 'Blue Weekend', some fans, myself included, were a little worried about how they'd follow up the Mercury Prize-winning 'Visions of a Life'. After the first spin of 'Blue Weekend', it was clear to see that I had nothing to worry about. That album is quite simply a masterpiece.
The album cycle for 'The Clearing' began with the bombastic first single 'Bloom Baby Bloom', one of the band's most accomplished efforts to date. A thrilling, larger-than-life effort, and bold declaration of intent by a band who know just how good they are. This feels different from the previous three efforts because they aren’t holding back.
Ellie Roswell’s voice becomes an instrument; it’s full of little flourishes and goes through stages. One moment she soars like a choir, and the next she confronts and twists into something so much darker.
The rest of the band have their moment in the sun, though, Joff Odie proves he’s one of the most underrated guitarists at the moment with a brilliant guitar solo. Joel Amey’s drumming splatters moments of intent throughout and sets the pace. Theo Ellis’ bassline pierces through the pre-chorus. All four of them work in tandem to create something truly breathtaking.
In the context of the rest of the album, 'Bloom Baby Bloom' feels like an anomaly. However, the feeling that the band are comfortable within themselves and their music is a theme that runs through the record. Settled is the word I'd use to describe Wolf Alice now. A band who have navigated through the madness of three albums, Brit Awards, winning a Mercury Prize, sell-out tours and most importantly, the madness of life that happens in your twenties.
Embracing everything they have done on their musical journey, and moving forward into a new chapter in an assured and accomplished way. With more nuance and a slower tempo. The band that blew us away with 'She', 'Yuk Foo', 'Smile' and 'Fluffy' have turned their guitars and drums down, but the songs on 'The Clearing' still leave a lasting impression.
‘Thorns,’ the opening track of the album, plays like a companion piece to ‘Blue Weekend’s’ ‘The Last Man on the Earth,’ echoing it in both sound and theme. While the 2021 track reflected on society’s narcissism and the protagonist’s fixation with finding themselves in the culture they consume, this time, Ellie Rowsell turns the gaze inward. “Did it help to take the thorn out / Telling the whole world you’d been hurt,” she pointedly asks.
'Bread Butter Sugar Tea' has the hallmarks of a live classic, and will definitely be getting an airing on the band's winter tour. A song about embracing flaws, it doesn't gloss over them; it's instead about acceptance. (“Don’t want a dish without salt / Bread without butter / If it’s bad for me, good, I feel bad suits me better.”
'Passenger Seat' shuffles with an Americana, meets Haim-like feel. With subtle hints to the band's earlier song 'Leaving You'. 'Just Two Girls' shines with a folk-like delivery but also an almost disco-inspired backing track. Imagine Joni Mitchell meets the Bee Gees. It really works.
This dreamy 70s-inspired sound really suits Wolf Alice. The band has been open about where the influences for this record came from. Stating that some inspiration for the album struck after Ellie watched Peter Jackson’s epic Get Back Beatles docuseries. There's definitely some of the Fab Four in there, Fleetwood Mac is a touchpoint, but there's so much more, Joni Mitchell, Queen, Blondie, ABBA. It's all sprinkled in; however, this does not feel like imitation for the sake of imitation. It's still a firmly a Wolf Alice record.
One of the album's best moments comes in the form of the penultimate track, 'White Horses', where drummer Joel Amey takes lead vocals for the first time since ‘My Love Is Cool’’s ‘Swallowtail’. A heartfelt reflection of heritage, identity and family. With crisp rustic instrumentation, and one of the album's biggest choruses. It's a song that has been on heavy rotation since its release. A confident and celebratory affair, when the questioning quiets down and he chooses to be content with his family and who he is.
'The Sofa' brings the album to a close. The Ellie Rowsell-penned piano ballad grapples with unrealised dreams and accepting life’s quieter moments: “Didn’t make it out to California / Where I thought I might clean the slate / Feels a little like I’m stuck in Seven Sisters / North London, oh England / And maybe that’s ok.”
Discussing the song, Rowsell said it was about “not trying so hard to figure everything out”, as well as reflecting on ageing and attempting to get to grips with “things that have or haven’t happened in your life”.“It’s also about trying to get to grips with the polarising aspects of one’s life when you’re in a band,” she added. “You’ve just played a huge tour – and you come home, and you have your dinner on the sofa.
For me, it’s summed up in how I treat TV. I used to never watch the same thing twice because I thought I had so much to discover! And now I’m like, it’s okay if I just want to rewatch Peep Show for the thirteenth time.”
It's the perfect metaphor for the album, and for where Wolf Alice find themselves. The dust has settled, and they know who they are, flaws and all. 2025 has the potential to be the biggest year for the band yet. Having ended their record deal with Dirty Hit and signed with major label RCA. An arena tour is pencilled in. It's a great time to be a fan of the band.
Why on earth was I worried? They've proved my worries to be pointless twice now! Britain's best band have smashed it again.
Thank you for reading
Jack