![]() ![]() And this isn’t only testament to how genuine her lyrics are, it also stems from the universality of her feelings – her skills as a lyricist are such that she manages to transform her own story (sprinkled with anecdotal information like the Hail Mary pub, which she admitted she changed the name of for the song, and the night bus she catches) into everyone else’s. The story is so well told, the images created so accurately in the listener’s head, that by the end of the first verse you find yourself completely absorbed in Rowsell’s love story and are rooting for her. Tension escalates towards the end of the verse where Rowsell paints the scene of her getting on the bus and leaving her loved one behind – the desperation, feeling of time being robbed from them, a flurry of emotions, all in a few seconds. She’s scared of love, scared of rejection, scared of what people will think, “ delet the kisses at the end” to veil her feelings, but hyperaware of the fact that she’s completely falling for this person. In lyrics like “ I’m typing you a message/ That I know I’ll never send” and “ Then I’m trapped, overthinking/ And yeah, probably self-doubt” she conveys the feelings of confusion and fear when you’re first falling in love with someone in a way that is poignant, raw, and not cliché. Now, Rowsell speaks more than she sings, addressing the listener as if he or she is the object of her affection. I’d like to get to know you I’d like to take you out We’d go to the Hail Mary And afterwards make out Instead I’m typing you a message That I know I’ll never send Rewriting old excuses Delete the kisses at the end When I see you, the whole world reduces To just that room And then I remember and I’m shy That gossip’s eye will look too soon And then I’m trapped, overthinking And yeah, probably self-doubt You tell me to get over it And to take you out But I can’t, I’m too scared And there’s the night-bus, I have to go And the doors are closing and you were waving And I like you, and I’ll never let it show And you won’t wait and maybe I won’t mind I work better on my own And now I’m, well, a bit drunk And I ask myself Don’t Delete the Kisses – Wolf Alice She’s scared, but this is just the beginning of her story. In a moment of frustration, she tries to convince herself not to fall for this person by asking “ What if it’s not meant for me?,” her voice turning slightly more in-your-face but still innocent enough to show the listener the question comes from a vulnerable place. Her voice is layered and full of naivety. She starts the song softly singing about being in love with someone, knowing they’re the one for you, but being afraid of the feeling and so not investing in it. I see the signs of a lifetime, you ’til I die And I’m swiftly out, I wish goodbye What if it’s not meant for me? Love What if it’s not meant for me? LoveĬatchy synths and a steady beat introduce us to the world through Rowsell’s rose-coloured lenses. In “Don’t Delete the Kisses,” Wolf Alice slowly untangles the knots created in one’s mind when falling in love, with Rowsell telling her own story and opening her heart to you while at the same time enlisting you to root for her and subtly encouraging you to act upon your feelings in your own life. If compared to the band’s other recent single, “Yuk Foo,” where lead singer Ellie Rowsell’s frustration is thrown at you and backed by a punk-leaning, guitar-led track, they are complete opposites. ![]() It is nuanced and exciting, bold but shy, autobiographical and universal, and shows a new side to the band both lyrically and instrumentally. Wolf Alice’s new single, “ Don’t Delete the Kisses,” is probably the most accurate description of what falling in love feels like. Do Not Love Me Yet “Don’t Delete the Kisses” – Wolf Alice ![]()
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