Album Review: ‘The Clearing’ by Wolf Alice

The love of Wolf Alice’s new record, ‘The Clearing’ is their greatest performance.

The London, England-based indie rock band, Wolf Alice returns with their fourth studio album, ‘The Clearing,’ on Aug 22. Greg Kurstin served as producer, marking his first time working on a Wolf Alice piece.

The entirety of the band members Ellie Roswell, Joff Oddie, Joel Amey, and Theo Ellis mark their spot on the stage with a luminescent glow, putting their names up in lights. Their 70s-influenced record is synonymously becoming known as the band’s holy grail in retrospect to its nostalgic ties of the “Swinging London” era. 

Enter; The Clearing

The Clearing is a departure from the gritty and angsty rock sound from the band’s previous records. In contrast, within this new release, Wolf Alice presents themselves in a new contemporary evolved sound and perspective. Thus, the record deeply intertwines elements of early ’70s progressive psychedelic rock with melodic folk tones.

The Clearing features an experimental sound that carries thematic lyricism that questions one’s self-worth, nostalgic moments with a lover and the journey of a transformative life upheld by the strains of society. In addition, the record’s musical arrangements possess a heavenly, cinematic sound that pulls on listeners’ heartstrings. Intricate vocals from singer Ellie Rowsell showcase her vocal ability with her siren-like layered harmonies. 

The first single

The lead single, “Bloom Baby Bloom,” is most representative of the direction Wolf Alice is taking. In fact, it portrays the band as one of the most complex indie bands of this generation. The track is very much reminiscent of Queen’s “Bohemian Rhapsody” in the way multiple stylistic sounds are featured, making it the most dynamic song on the record. As a result, it features layered harmonies, jazz influences, and a modern take on a 70s track. “Bloom Baby Bloom” is the encapsulation of the genius minds of Wolf Alice. 

Reflecting on “The Sofa”

Additionally, “The Sofa” was the second single released of the album. It gave fans more insight as to what’s to come from the band’s more polished and thematic record. Above all, the track comes from a heartfelt place as Roswell reflects on her relationship within the band and her own personal life. It has laid-back and ethereal, blissful instrumentation, the patterned drumming and warm piano tones. For this reason, “The Sofa” is a soft rock ballad and an instant classic. 

Taking a ride on “White Horse”

Lastly, the third single was “White Horses.” It’s a track that depicts the band’s strong friendship and love for their artistry. Essentially, it’s a story that intertwines a personal tale of a lifelong journey and the finding of your own family. In summary, the discovery of wanting to belong and be seen is the driving force for the narrator.

The group’s strong relationship also alludes to this. Beyond their love for music and their search for a place in the world, their ultimate purpose was to find each other. “White Horse” showcases rustic acoustic guitars and a flowing drum beat, which Rowsell’s vocals beautifully cascade over.

Words that hold a special place

The lyrics defy the underground elements of understanding that family can be found in any circumstances. Thus, the band’s trust in invisible strings brought them together for a reason.

“Know who I am, that’s important to me. Do what I can to see the wood from the trees. Know who I am, that’s important to me. Let the branches wrap their arms around me.”

Therefore, it’s an important track on the album for Amey, as it pertains to his own life story and findings.

“(I) was on this big adventure with my best mates, never feeling the need to call one place home, living out a suitcase, all the stuff that comes with being in a band,” Amey told Under The Radar Magazine. “I felt that the answers to ‘who I am and where do I come from?’ didn’t matter so much; I’d chosen my family and they were the people around me. “White Horses” was me trying to put all that into a tune, and Ellie, Joff and Theo helped me all along the way.”

Other things of note

Throughout the record, glimpses of a shimmering mirror ball are made a focal point. In effect, the clips appear in a dimly lit room, surrounded by the alluring fantasies of a 70s downtown dive bar. 

In addition, there are appearances of a blended fusion of tracks, garnering a folksy and lustful acoustic tone. For example, the layered pianos and bright guitars are paired together like long-lost friends in song “Passenger Seat.” Additionally, “Leaning Against The Wall” and “Safe in the World showcase similar traits.”

On the flip side of the record, listeners are met with an improvisation of 70s jangly guitars. It mingles with the upbeat pouncing of drums, displaying the 180-degree version of a once solemn attitude. In tracks such as “Bread Butter Tea and Sugar” and “Just Two Girls,” a more whimsical sound protrudes. Its theatrical personality is so irrevocably charming that it makes listeners want to sing and dance around like no one is watching. The songs follow an effortless and lively atmosphere that is so heartwarming; the warmth lingers on. 

In conclusion

For this reason, Wolf Alice has officially created a record that encapsulates a modern take of 70s psych/soft rock and attributes it towards a more mature state of mind. It is a provocative, thoughtful album that approaches the most sensitive and vulnerable thoughts of one’s imperfections and transforms it into a thrilling cabaret show. As a result, the growth of the band is sonically evident, reflected in their personalities, and soaring from their chemistry together. Their artistic freedom and their ability to create a visually cohesive record such as The Clearing will become a staple in their discography, upheld to the highest of standards.

The band was recently featured on the cover of Rolling Stone Magazine and is currently on tour in support of their new record.