A leopard cannot change its spots, which may explain why Ellie Rowsell and company opted to name themselves along more canine lines: Wolf Alice are constantly in the throes of reinvention, making sure to switch up their instrumentation and style with every record. The band’s approach couldn’t be clearer in 2025, as the washed-out synths of 2021’s ‘Blue Weekend’ have been all but eradicated. In their place is the smooth, retro finish of new record ‘The Clearing,’ which aims to further capitalise on the band’s uptick in success— if anything, the group have played things too safe this time around.

Though this constant cycle of evolution is no surprise for Wolf Alice, it’s worth reiterating that ‘The Clearing’ sounds completely unlike anything else the band have released thus far in their budding discography. This time around, the group’s work harkens back to the acoustic sound palates and easy listening of the 1970s, drenching every track in vintage swagger. On the face of it, the band have done a tremendous job twisting these sounds to fit their particular mould: outside of some choice exceptions, the record sits in a warm, comfortable sonic pocket, allowing Rowsell’s vocals the room they need to ring out overtop a host of, relatively, minimalist arrangements.

Rowsell really is sounding better than ever in current year, pushing her voice to fit a variety of styles and moods— honestly, it’s almost hard to accept that the withdrawn croonings of ‘Play It Out’ and the wild inflections of ‘Bloom Baby Bloom’ are delivered by the same vocalist. She’s not standing alone either, as you can clearly hear how much fun the entire band were having recording a number of these tracks— if there are complaints to be levied at Wolf Alice, a lack of character is not among them. Joel Amey’s drums have a satisfying thwack to them that lends even the simplest of tunes an infectious groove: much the same could be said of the various usages of piano throughout ‘The Clearing,’ which carry with them a distinct bounciness. Perhaps the greatest card in the album’s hand is its shifting sound palate, which consistently feels difficult to pin down— just look at ‘Leaning Against The Wall,’ which confidently evolves from a charming country-esque acoustic guitar jam into an interplanetary synth-fest.

After that wave of praise, you may be surprised to hear that ‘The Clearing’ isn’t an overly memorable listen: if anything, that charming instrumental palate goes to waste far too often. A great number of cuts, especially towards the middle of the album, feel more like pastiches of beloved musical movements than they do genuine celebrations— though most of the tracks here are rather pleasant, the impression they leave fades fast. ‘Leaning Against The Wall’ does indeed showcase a remarkable evolution across its runtime, but those ideas never really build to anything climactic or enthralling: much the same could be said for many of the softer cuts to be found here, with the likes of ‘Safe in the World,’ ‘Play It Out’ and ‘Midnight Song’ leaving less of a mark than a dog on a lamppost. Though there’s a hell of a lot going for ‘The Clearing,’ the album itself doesn’t go all-too far: often, Wolf Alice just leave us yearning for the more memorable offerings of albums past.

The record fares much better while it’s actively being experienced, even if the results continue to vary. If there’s a hole in the album’s delightful production, its the consistently thin acoustic guitar sound that undercuts a number like ‘White Horses’ (though that track, in particular, feels oddly unfinished compared to what’s around it). ‘Passenger Seat’ suffers similarly, even if its Joni Mitchell influence is somewhat charming. Elsewhere though, that familiar Wolf Alice magic shines through once more. Single ‘The Sofa’ feels like the obvious standout, accenting some of the most infectious melodies on the project with a suite of gorgeous string and piano accompaniments— opener ‘Thorns’ is similarly strong, providing some solid evidence that a 70s-inspired project does indeed show a hell of a lot of promise. We’d also be remiss not to praise the hilariously-titled ‘Bread Butter Tea Sugar,’ which proceeds to knock out every other cut here in terms of energy and momentum. If only some of the less exhilarating moments could’ve taken notes.

On paper, ‘The Clearing’ is one of the most exciting albums of the year: it’s lyrically strong, sonically intricate and houses its fair share of bright spots. Attempt to engage with that idea though, and you’ll find it (ironically enough) paper thin. The fourth Wolf Alice record can be gorgeous at times, but that beauty fades quite fast— looking back after the final notes of ‘The Sofa,’ you really have to question how many songs you can accurately recall. ‘The Clearing’ is a sweet soundtrack to any remaining sunny summer days: we’ve just come to expect a little more than that from Wolf Alice.