Out of the gates, Wolf Alice were poised to make it big with a dynamic sound that straddled alternative and indie. Lead singer Ellie Roswell delivered intensity and beauty in equal measure, which set them apart from their peers. If they brandished a distinctly 1990s tendency toward loud-soft-loud, that was by intention. This approach continued until, most recently, Blue Weekend (2021), where the overall impact was massive even if it contained moments that barely rose above a whisper. Most tracks didn’t hold back (consider “Play the Greatest Hits” as a case in point), but Wolf Alice demonstrated reserve if the moment called for it.
The Clearing goes in an altogether different direction, one that runs the risk of alienating their core fanbase. Where their label and big-name producer, Greg Kurstin, may hear them bursting with ideas, they sound confused about which direction to go, showcasing tender, poppy, and soft rock elements while never fully leaning into their signature powerhouse sound.
Perhaps the best song on the record, “Bloom Baby Bloom”, can’t decide if it’s more influenced by Fiona Apple or Florence & the Machine, with unexpected funky flavors thrown in for good measure. A wailing guitar can be heard in the background because, apparently, the track wasn’t already bursting with ideas. They appear to be searching, and that quality now defines Wolf Alice at this stage of their career.
Wolf Alice are a professional band on a major label, so none of the tracks are bad per se, just not consistent. “Bloom Baby Bloom” plays with intensity levels and comes as close to resembling that which came before, while “White Horses” leans into the groovy proto-Britpop of Suede. Drummer Joel Amey takes the lead on vocals above a steady Krautrock beat, and it ultimately finds the band at their most compelling in this new era of exploration.
The Clearing’s production is top-notch, which makes the transitions sound natural even if they are anything but. The band’s Britishness is more readily apparent, especially when they lean into styles from bygone times. “Bread Butter Tea Sugar” contains jaunty elements that veer into disco, featuring the rather pedestrian lyrics: “Don’t want a dish without salt / Tea without sugar / If it’s bad for me, good / I feel bad suits me better.” “Midnight Song” is all tender folk and strings, calling even further back to the island’s rich history of pastoral sounds.
More than anything, Wolf Alice sound tamed. As a reminder, this is the band that made a name for themselves with the roaring “Moaning Lisa Smile”. Opener “Thorns” contains orchestral arrangements and gospel influences; “Play It Out” is defined by piano and soaring background vocals; and “Passenger Seat” could almost pass for Sheryl Crow. Even the progressive “Just Two Girls” gives off 1970s theme song vibes, with visions of a sitcom about a chic lesbian couple. Here, Wolf Alice lean into the soft rock grooves of Rilo Kiley or Tennis, with Roswell’s breathy vocals taking center stage. There’s little of the venom that characterized the band early on.
Wolf Alice still attempt to sound edgy, even if it’s more for show. Using curse words on a record no longer has the same shock value. Maybe it’s the fact that the kids who once rebelled against Parental Advisory labels are now parents themselves. Censorship measures pushed by Tipper Gore and Parents Music Resource Center aren’t so blindly accepted today. Sure, I will skip the final track “The Sofa” (with the lyric “Sometimes I just want to fuck”) when my kids are in the car, but they also know that “daddy’s music is art”.
The problem is that the content doesn’t seem all that subversive, even if it’s unsuitable for virgin ears. Listeners won’t be startled by disparagingly calling somebody a baby or references to a random hookup. More than likely, those phrases are going to be met with a deadpan retort: “cool”. It begs the question about how much has changed in the past decade and a half since Wolf Alice made a name for themselves.
Wolf Alice can still command one’s attention, but they don’t get street cred just because they flaunted an original sound and won a Mercury Prize. I would argue that listeners are more attuned to authenticity and will bristle against an artist if the sentiments are a little too on the nose. The Clearing marks the first signs that Wolf Alice lack the originality that made them so appealing in the first place. It’s a mid-career misstep, one that will hopefully see them regroup and double down on their tender yet abrasive brand of rock and roll.