I was really excited for the release of Wolf Alice’s fourth studio album. When I reviewed the first two singles a few weeks ago, I was pleasantly surprised by the contrast between the tracks and admittedly turned on by their new ‘70s rock aesthetic. However, after listening to the album in full, I fear they blew their load prematurely by releasing the best songs as singles, leaving me lying in a musical wet patch of humdrum.
The first track, Thorns, sets the tone for the album’s mostly acoustic sound. It plays like a self-deprecating lullaby, using jabbing, rhythmic adjectives: narcissist // resist // masochist // persist. The warbling harmonies give the track a haunted quality, but Rowsell’s usually solid vocals sound strained, even during the big crescendo, making for an underwhelming start. Bloom Baby Bloom, which I reviewed in a previous post, completely flips the tone. Its constant twists and dense musical backing couldn’t be more different from the opener.
Online, I’ve seen a lot of praise for Just Two Girls, but I have to disagree. This ode to friendship isn’t a bad song, with its energetic, piano-driven beat that transforms into a whimsical cacophony – but it falls flat for me. The sentiment is heart-warming – two girls keeping each other in check, asking, “Do you think you let this world get a little to your head?” while still admiring their friend – but the song just doesn’t excite me. It’s just OK.
Wolf Alice has always drawn from different genres, and Leaning Against the Wall taps into a jazzy drum-fill mood in its verses before breaking down into airy synth pads in the chorus. The line “you put my world in slow-mo” gains depth from this atmospheric shift. It’s a clever use of sound- unexpected at first but quickly becomes predictable. Passenger Seat completely bored me. I don’t have much to say about it; it just feels like filler.
Play It Out bares the soul of womanhood. Now in their 30s, the band explores familiar territory – constant questioning of how life will pan out, asking, “How long until I’m happy?”. The chorus lyric “I will rule the world, rock the cradle with a babeless hand” carries a Shakespearian elegance. The echoing, muddled vocals toward the end, followed by carousel music, leave listeners with a haunted feeling. It’s the most successful experiment on the album. It’s odd, but it works – reminiscent of some of the avant-garde Beatles tracks of the late ‘60s.
The band gets raunchy on Bread Butter Tea Sugar – “I could have you between my legs // my wicked pleasure”. It’s a bouncy, electric track that somehow conjures the 2005 Magic Roundabout film. The electric guitar solo gives it a rock edge that fits the band’s current aesthetic. It’s one I can see myself revisiting.
On a positive note, White Horses is a breath of fresh air. Drummer Joel Amey takes lead vocals – something we haven’t heard since My Love Is Cool. The jangly, tinny sound layers bubbling effects over a steady guitar line. The theme of coming home – “I can see England waiting, white horses carry me”-feels like the band nodding to each other and to their audience, acknowledging the family they’ve built through music. The Sofa closes the album with a sense of contentment and rest – a fitting end, despite the fevered marketing, festival performances, and upcoming tour.
I have to admit I’m disappointed by The Clearing. Maybe my expectations were too high. Aside from the three pre-released singles and a couple of standout tracks, the rest feels unnecessary. Maybe I’ll warm to it with time (I’ve got tickets for their London gig in December), but as it stands, it’s my least favourite release of the year so far.
To read my full thoughts on singles Bloom Baby Bloom and The Sofa, head to my previous post by clicking “Wolf Alice” below!