FEATURE:
My Five Favourite Tracks of 2021
PHOTO CREDIT: Jordan Hemingway
Wolf Alice – The Last Man on Earth
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THIS is the only instance…
where an album of the year and track of the year from my selected five intersects. I have already named Wolf Alice’s Blue Weekend as one of my favourite albums of this year. One track from it, The Last Man on Earth, is one of the best tracks I have reviewed in a very long time. I reviewed the song back on 28th February. I am going to come back to some reviews for Blue Weekend in a bit – as the album is one of this year’s best and warrants more spotlighting -, but I want to spend a bit of time with The Last Man on Earth. The lead single from their third studio album, there was a lot of excitement when the song was announced. As we can tell from this Wikipedia article, The Last Man on Earth has its roots in some rathe deep literature:
"The Last Man on Earth" was the band's first single in almost 3 years, following an extensive tour through 2018 and early 2019 for their second album, Visions of a Life. Frontwoman Ellie Rowsell said this about the lyrics of the song:
"It's about the arrogance of humans. I'd just read Kurt Vonnegut's Cat's Cradle and I had written the line 'Peculiar travel suggestions are dancing lessons from god' in my notes. But then I thought: 'Uh, your peculiar travel suggestion isn't a dancing lesson from god, it's just a travel suggestion! Why does everything need to mean something more?”.
I will come to the album reviews in a second. The Mancunion were excited when the exceptional and epic The Last Man on Earth was announced earlier in the year:
“After a four-year long hiatus and a multitude of tantalising teasers dotted around social media, Wolf Alice are finally making their highly anticipated return to the world of indie music with their latest offering ‘The Last Man On Earth’. Following on from their previous album, ‘Visions Of A Life’, will be no easy feat; but if anyone can do it, I would place my life in the hands of the dazzling Ellie Rowsell. Emailing their fans, the band offered up a quick peak into what the last almost-half-a-decade has entailed
The eerie monochrome visuals, directed by Jordan Hemingway, are the perfect accompaniment. Ellie’s striking, angelic vocals cut through the smoke screen of mystery to introduce a new era of Wolf Alice.
Nothing short of straight out of a indie-teen movie, the flickering screens, kaleidoscopic imagery, and fire-torn backdrop almost signal the end of Wolf Alice as we know them – in fact, we’re worlds away. This new venture is as much a short cinematic feat, as it is a powerful ballad.
Inspired by Kurt Vonnegut’s novel ‘Cat’s cradle’, Ellie carefully plucked the lyrics from a fictitious tale, and added deeper meaning to the words “Peculiar travel suggestions are dancing lessons from God”.
Emotive lyrics and soaring vocals build up to make an escapist’s dream. The delicately layered piano and strings bring a heavenly, divine feel to the track; the orchestral bliss is emphasised by the lyrics “light shining down”.
Pegged by Ellie as the “Musical form of her own existential crisis,” and serving as a majestic dive into the mind of the powerful front woman, the glistening self-confession proves her prowess and demonstrates her evolution as a delightful songwriter.
Talking on the new album with Annie Mac on BBC Radio One: after a post-tour burnout, the band spent a few months apart and re-kindled their love for music in an Air BnB in Somerset, where they began writing their new tracks. Ellie explained that the album title was inspired by a taxi ride of perfectly blue skies. This new, grander, grandeur version of Wolf Alice are the most sonically mature the band has ever been, and I can’t wait for more newness”.
There are many great songs on Blue Weekend. I especially love The Last Man on Earth, as it was the first thing that I heard, and it sort of blew me away! It is a track that provide such an emotional hit. The critical reviews for Blue Weekend have been exceptional. This is what NME said:
“There are lines on this record that have the power to transport you to very specific places or feel like Rowsell has extracted your soul from your body, put it under a microscope, then handed you a report on her findings. They are particular in the stories they lay out but, within the details, offer places to find yourself and the tales you could tell. It’s a phenomenon that the singer and guitarist references on the piano-led, emotional epic ‘The Last Man On Earth’: “Every book you take that you dust off from the shelf/Has lines between lines between lines that you read about yourself.” Simultaneously, she analyses a compulsion of the human race and offers another opportunity to indulge in it yourself.
The increased openness in the front woman’s words is perhaps no surprise, given the six years Wolf Alice have had since releasing their debut album ‘My Love Is Cool’. In that time, they’ve grown from buzzy newcomers to a bonafide Big Deal, via milestones of success you can’t help but absorb confidence from: breathless praise for second album ‘Visions Of A Life’, a Mercury Prize win for that record in 2018, selling out their biggest headline show to date at London’s Alexandra Palace. Now, they’re making the step up to riotous festival headliners, leapfrogging from topping the bill at the likes of Truck to taking pole position at this year’s Latitude.
In broad strokes, ‘Blue Weekend’ is a study on relationships – yes, with romantic partners, but also with friends, with yourself and with the world at large. The sparse and minimal heartbreaker ‘No Hard Feelings’ contains evocative scenes within its exploration of a separation. “It’s not hard to remember when it was tough to hear your name,” Rowsell sighs. “Crying in the bathtub to ‘Love Is A Losing Game’.” The song referenced might change for different people, but the feeling that sucker-punches you from within is universal.
If that track takes you into the depths of lovelorn grief, sunkissed album closer ‘The Beach II’ whisks us off to somewhere much calmer. Here, Rowsell is by the shore, drinking lukewarm “liquid rose” with her mates, but in her narration positions herself as an observer looking on fondly. “The tide comes in as it must go out, consistent like the laughter/Of the girls on the beach, my girls on the beach, happy ever after,” she sings softly. Combined with the gently surging guitars and buzzing synths beneath her, the song captures a moment of magic that makes you feel like you’re hovering above your own memories of the tableau it depicts”.
Actually, rather than pull in another review for Blue Weekend, I will end with NME’s reaction to one of Wolf Alice’s best songs. The band could have selected other tracks as lead-off for Blue Weekend, though they clearly felt that The Last Man on Earth would resonate:
“Relatability is big currency in pop culture these days and it’s a common phenomenon for us to interpret songs, books, movies and more based on our own experiences. We inject importance into their storylines and lyrics based on how they make us feel about our lives, the lines between whether a piece of art is actually good or just makes us feel seen increasingly blurred. It’s an event that doesn’t escape Rowsell’s of our self-important society: “Every book you take and you dust off from the shelf/ Has lines between lines between lines that you read about yourself,” she observes. “Does a light shine on you?”
It’s sharp, smart songwriting that provides both a critical assessment of humanity’s egotistical impulses and allows us to do the very thing it warns of – finding ourselves in the lyrics and moulding them to fit our worlds. Wolf Alice have long proven themselves to be one of the best and brightest bands in Britain, but here they give us yet more evidence that they’re still setting the standard for UK music and beyond.
Usually, the start of a new era for the four-piece is signalled by a storming, moshpit-inciting banger. Their 2015 debut album ‘My Love Is Cool’ had the sludgy swagger of ‘Giant Peach’ and ‘Yuk Foo’ – the first track from their phenomenal 2017 album ‘Visions Of A Life’ – set fire to everything that had come before in a blaze of urgent rock riffs and guttural screams from Rowsell. Even EPs ‘Blush’ (2013) and ‘Creature Songs’ (2014) introduced themselves with tracks that made you want to throw yourself headfirst into a sweaty mass of strangers.
‘The Last Man On Earth’, though, changes tack. It’s not until midway through the song that we get much more than Rowsell’s vocals and a simple piano line. It’s a different pace for the band – one that puts their singer at the forefront and lets her emotive voice do the work until we enter a grand, powerful second half. As she delivers one of the song’s most cutting lines (“Who are you to ask for anything more/ The only thing you should be asking for is help”), drummer Joel Amey, bassist Theo Ellis and guitarist Joff Oddie enter the stage and gradually lift the track to epic new heights that dip between vintage psych riffs and majestic walls of sound built to fill arenas”.
One of my top five choices for the best track of the year, Wolf Alice’s beautiful masterpiece that is The Last Man on Earth is one everyone needs to hear. There are a lot of other songs vying for a top five place (including Billie Marten’s Human Replacement), though I could not omit this song. It is one that stunned me back in February. It seems Wolf Alice can get even better and bigger. Given the strength and brilliance of Blue Weekend, that is…
QUITE a scary thought!