A New Era for Wolf Alice: Deconstructing 'The Clearing'
Wolf Alice has done it again. Just when you thought you had a handle on their ever-evolving sound, the band has released their highly anticipated fourth studio album, The Clearing, and it's a departure in the most exciting way. Released on August 22nd, this record feels less like a continuation and more like a fresh beginning, a confident stride into new territory that somehow still feels distinctly Wolf Alice.
From the very first moments of the cinematic opener "Thorns," it's clear that this isn't Blue Weekend part two. The North London quartet, known for their masterful blending of ethereal dream pop and ferocious rock anthems, have embraced a more refined, introspective, and even retro-inspired sound. Working with producer Greg Kurstin (Adele, Paul McCartney), the band has crafted a project that leans into lush arrangements, piano melodies, and a more classic rock vibe reminiscent of '70s legends like Fleetwood Mac.
The shift in style is immediately apparent on singles like "Bloom Baby Bloom." While it still packs a punch, it does so with a radiant, almost theatrical energy, a far cry from the gritty guitars of their earlier work. Ellie Rowsell’s vocals are as compelling as ever, soaring one moment and dropping to a whisper the next, showcasing a newfound maturity and control. The album’s emotional core is felt deeply on tracks like "Play It Out," a stunningly personal piano ballad that is being hailed as one of their most beautiful compositions to date. It’s here that Rowsell's lyrical depth shines, exploring themes of aging, resilience, and womanhood with a raw honesty that is deeply moving.
While some fans may miss the heavier, more raucous elements of their previous records, The Clearing rewards an open mind. Tracks like "Just Two Girls" bring a playful, feel-good energy with a '70s-influenced instrumental, while "White Horses," featuring drummer Joel Amey on vocals, offers a trippy, uneasy yet beautifully cathartic moment. It's a testament to the band’s artistry that they can explore such a wide range of styles—from baroque slow-burns to saccharine love songs—and have it all feel part of a cohesive, if at times contradictory, whole.
In a recent interview, Rowsell stated she wanted to use her voice as a "rock instrument" and felt she no longer needed to prove herself. This confidence permeates every note of The Clearing. It’s a record of a band that is not just comfortable in their own skin but is actively pushing their own boundaries. It's an expansion of their craft, a move that feels both ambitious and deeply personal. The album closes with the tender and graceful "The Sofa," a piano-filled ballad that serves as a perfect summary of the album's themes and showcases the band's ability to create something truly beautiful and intimate.
For those ready to embrace this new chapter, The Clearing is a magical project worthy of repeated listens. It may not be what everyone expected, but it's an undeniable contender for album of the year. Wolf Alice have once again proven why they are one of the most vital and creative bands of their generation.