Once upon a time, Ellie Rowsell and Joff Oddie met while doing the open mic circuit in London, become a duo, and performed their acoustic folk-pop based songs. Deciding that hardly anyone was listening they wanted to get a band together, and after a false start or two settled upon the rhythm section of Joel Amey and Theo Ellis, Quickly, they came to notice for their sure-footed indie rock sound, while keeping to a minimum the more acoustic flavours of the past. Indeed, such was the way they have caught the imagination that even before their debut album had been released they've been selling out gigs wherever they went (their Concorde 2 show earlier this year sold out very fast). What's the secret? Needless to say, it's mainly down to the songs, but it's also down to their onstage personality and personas; four young, seemingly well brought up adults, who are fairly cool and friendly looking, who are obviously having fun, know how to play, and act like a real band, ie, a bonded unit that is more than the sum of their four parts. And, in lead singer Ellie Rowsell, they have a focal point, a waif-like girl who can write great songs (with the others), play a bit of guitar, and sing in a beguilingly understated manner, interspersed with some raucous shouty bits and the odd high-pitched yelp that only females can do…
So, after some fine singles and EPs, can they cut it with a full-length album? Yes, they can. My Love Is Cool meets pretty much all expectations, although a fair few of the numbers here have seen the light of day before and/or been an integral part of their live set for some time; numbers such as Bros (a single from 2013, its been reworked for the album), Fluffy and Giant Peach.
The album actually begins with the whispy, psychedelic folk favours Turn to Dust, a reminder of what Ellie and Joff used to sound like. "Keep your beady on me, to make sure I don't turn to dust," she quavers, imparting an edge to the lyrics that carries through to the rest of the album, sometimes dark and a little gloomy, but interspersed with the nostalgia of songs such as Bros, about a strong teenage friendship, and of course the odd in-and-out-of-love song.
Bros, one of the singles from the album, is a particularly strong, pop flavoured track, displaying the superb dynamics of the band as they move fluidly from rocking grooves to more contemplative passages. As does Your Lovers Whore, a mid-tempo stomper that begins with just drums, then staccato guitar, before the bass comes in, colouring the song with a neat little melody, before they all break out together into a big rush of guitars and rhythm, before it comes back to the verse, bass and drums only, Rowsell sing-talking: "Life we'll figure and the light won't fade, believe me/And it all works better in the place we made believe". Musically, it's a multi-faceted song, featuring superb dynamics and a beautifully thought out arrangement.
Songs such as You're A Germ carry some of the influences of the ever-influential Pixies, with it's stop-go, loud-quiet, shouty-hushed dynamics. But these are just nods of appreciation; the Pixies are obviously an inspiration, but they embellish that, and make it their own.
For sure, the album dips a little mid-section, but not much. Even the less strong songs such as Lisbon and Silk contain good melodies, and interesting ideas, showcasing their desire to be not just another grungy indie band. For instance, Silk's foray into moody electronics and sound, albeit underpinned by the rhythm section and Rowsell's eclectic singing style, including a little call-and-response, once again exposes hitherto unknown, experimental pastures, with Mike Crossey's production standing out. While Freazy is a decent enough tune, that almost crosses over into pure pop territory, if lacking the bite of much of the rest.
Album highlight Giant Peach has already seen the light of day as the lead single from the album, and like Bros has been a staple of the live set for some time. Still, it's a killer tune, an extended intro of grooving guitars paving the wave for Ellie to sing some of her least optimistic stuff, while Oddie goes to town with some superbly melodic playing, before the band really let their hair down for some serious grunge. It's exhilarating stuff, while at the opposite end of the spectrum you have the Joel Amey sung, acoustic based Swallowtail, a gently melancholy number that bursts into life towards the end via coruscating guitar, and an epic rhythmic sweep. You think it ends there, but the band suddenly come in for a very brief turbocharged blast, diametrically opposed to the beginning of the song. It's not typical Wolf Alice, but conversely shows another side to the band. As I said before, they are a real band, one which obviously works as an equal partners unit, and it's all the better for it.
Soapy water is a departure again, this time the band getting their electronics out for this slightly hazy 80s influenced number before Fluffy enters rather incongruously, and perhaps a little cheekily, for we have heard this before as a single from back in 2013. Still, it's another of Wolf Alice's great blasting indie numbers, brilliantly dynamic and yet fluid, so much packed into three short minutes
Final track The Wonderwhy is a fine closer, slowly building, atmospheric, questioning and imploring as the title implies, Rowsell even gently rapping towards the end: "What happens when we die, no one must ask question, just make sure you survive". The emotions are strong, perhaps taking away the lingering suspicion that maybe Wolf Alice are just a fun kind of band, devoid of much deeper meaning or thoughtfulness. Not that this is pre-requisite for being good (witness The Ramones, or early Kooks, for God's sake), but Rowsell's lyrics – although sometimes indecipherable – are often reflective and philosophical, which can be overlooked when the band are simply rocking out.
It's not quite all over yet, with a hidden track unexpectedly appearing, just guitar and vocal from Rowsell, like a very rough bedroom demo, the outlines of the song only, as she says: 'teach me to rock'n'roll'. In that respect, nobody needs to teach her, or the band, nothing. They've already got it nailed down.
Jeff Hemmings
So, after some fine singles and EPs, can they cut it with a full-length album? Yes, they can. My Love Is Cool meets pretty much all expectations, although a fair few of the numbers here have seen the light of day before and/or been an integral part of their live set for some time; numbers such as Bros (a single from 2013, its been reworked for the album), Fluffy and Giant Peach.
The album actually begins with the whispy, psychedelic folk favours Turn to Dust, a reminder of what Ellie and Joff used to sound like. "Keep your beady on me, to make sure I don't turn to dust," she quavers, imparting an edge to the lyrics that carries through to the rest of the album, sometimes dark and a little gloomy, but interspersed with the nostalgia of songs such as Bros, about a strong teenage friendship, and of course the odd in-and-out-of-love song.
Bros, one of the singles from the album, is a particularly strong, pop flavoured track, displaying the superb dynamics of the band as they move fluidly from rocking grooves to more contemplative passages. As does Your Lovers Whore, a mid-tempo stomper that begins with just drums, then staccato guitar, before the bass comes in, colouring the song with a neat little melody, before they all break out together into a big rush of guitars and rhythm, before it comes back to the verse, bass and drums only, Rowsell sing-talking: "Life we'll figure and the light won't fade, believe me/And it all works better in the place we made believe". Musically, it's a multi-faceted song, featuring superb dynamics and a beautifully thought out arrangement.
Songs such as You're A Germ carry some of the influences of the ever-influential Pixies, with it's stop-go, loud-quiet, shouty-hushed dynamics. But these are just nods of appreciation; the Pixies are obviously an inspiration, but they embellish that, and make it their own.
For sure, the album dips a little mid-section, but not much. Even the less strong songs such as Lisbon and Silk contain good melodies, and interesting ideas, showcasing their desire to be not just another grungy indie band. For instance, Silk's foray into moody electronics and sound, albeit underpinned by the rhythm section and Rowsell's eclectic singing style, including a little call-and-response, once again exposes hitherto unknown, experimental pastures, with Mike Crossey's production standing out. While Freazy is a decent enough tune, that almost crosses over into pure pop territory, if lacking the bite of much of the rest.
Album highlight Giant Peach has already seen the light of day as the lead single from the album, and like Bros has been a staple of the live set for some time. Still, it's a killer tune, an extended intro of grooving guitars paving the wave for Ellie to sing some of her least optimistic stuff, while Oddie goes to town with some superbly melodic playing, before the band really let their hair down for some serious grunge. It's exhilarating stuff, while at the opposite end of the spectrum you have the Joel Amey sung, acoustic based Swallowtail, a gently melancholy number that bursts into life towards the end via coruscating guitar, and an epic rhythmic sweep. You think it ends there, but the band suddenly come in for a very brief turbocharged blast, diametrically opposed to the beginning of the song. It's not typical Wolf Alice, but conversely shows another side to the band. As I said before, they are a real band, one which obviously works as an equal partners unit, and it's all the better for it.
Soapy water is a departure again, this time the band getting their electronics out for this slightly hazy 80s influenced number before Fluffy enters rather incongruously, and perhaps a little cheekily, for we have heard this before as a single from back in 2013. Still, it's another of Wolf Alice's great blasting indie numbers, brilliantly dynamic and yet fluid, so much packed into three short minutes
Final track The Wonderwhy is a fine closer, slowly building, atmospheric, questioning and imploring as the title implies, Rowsell even gently rapping towards the end: "What happens when we die, no one must ask question, just make sure you survive". The emotions are strong, perhaps taking away the lingering suspicion that maybe Wolf Alice are just a fun kind of band, devoid of much deeper meaning or thoughtfulness. Not that this is pre-requisite for being good (witness The Ramones, or early Kooks, for God's sake), but Rowsell's lyrics – although sometimes indecipherable – are often reflective and philosophical, which can be overlooked when the band are simply rocking out.
It's not quite all over yet, with a hidden track unexpectedly appearing, just guitar and vocal from Rowsell, like a very rough bedroom demo, the outlines of the song only, as she says: 'teach me to rock'n'roll'. In that respect, nobody needs to teach her, or the band, nothing. They've already got it nailed down.
Jeff Hemmings
Have a read of our interview with Wolf Alice here.