Yuk Foo actually made me a Wolf Alice fan. How crazy is that? I was never keen on them before, I saw their first album get Mercury Prize nominations and win album of the year awards and I didn't understand the hype. But then I heard Yuk Foo on the radio after it's release and I had it stuck in my heard for ages, as it is as I write this review. But it's Don't Delete The Kisses that made me go back and listen to their first album again. What a song that truly is. It's such a twisted, yet beautiful, modern love story with it's pondering of putting kisses at the end of a message. But it's lead singers, Ellie Rowsell's, low-key almost whispering lyrics that make it all that more powerful almost as if we are listening to her inside thoughts as she ponders whether this relationship is what she wants but then she realises that the unnamed love interest is all she wants to talk about and she keeps recycling his jokes so it must be love. A really well written pop song, that's probably one of my top 10 favourite singles this year.
But it's Beautifully Unconditional that made me a fan. It's such a throwaway, nothingness song yet at the same time it's so unbelievably catchy. And I've come to realise that's what makes Wolf Alice so good. Their ability to make a tune that shouldn't be catchy, catchy is unparalleled against any band I've ever seen or heard. But what I think is most impressive about this band is how unbelievably diverse they are, you look at Yuk Foo compared to Sadboy or Formidable Cool compared to Don't Delete The Kisses. And the ability to intertwine those songs into one project that flows so well. My only objection to the flow of this project is that A. Clumping all of the singles at the start of an album is never a good idea and B. putting Yuk Foo directly after the solace that is Heavenward is kind of crazy.
The title track is also a fantastic song, a real journey of emotions compared to a lot of other songs. But one of the deeper tracks that I love is Sadboy. It's such a slow, drum induced track that actually lends its hand to a more folky noise for the most part, before all of the instruments kick in at the end. But I also thing this is one of the best adverts for Ellie's voice on the whole project as her calming voice fits the slower, softer, synth induced tracks more which was portrayed on the first album with songs like Silk and Bros.
Ultimately, this is undoubtedly a contender for KMMR's album of the year list. And I have no doubts that it will be more music critics' lists as well as all I've seen so far are full marks reviews. However, it isn't quite going to get full marks from me, purely because I don't really like the song Space & Time and I don't like the flow of the album, I think a restructure of the tracks could have really helped the listening process. But for now, it's pretty damn close to perfect.