Patrick Wolf
Sundark And Riverlight

The operation itself is rather clever and cunning, eight songs in "Sundark" and another eight in "Riverlight"; of course, all sixteen could have easily fit into one album, but in this case, the marketing choices have proven to be appreciable and functional, and they’re based on an artistic foundation: better this than a banal and overabundant best of, "Sundark And Riverlight" is something more captivating and ambitious. 2012, the latest album of good Paddy Wolf was the brilliant and sunny "Lupercalia", for some perhaps even a bit too bright and sunny; I don’t share this view at all, I consider it a great show of maturity, with which he managed to step away from certain clichés that, if not supported by inspiration and sincerity, end up becoming excessively irritating; it was the right moment to stop and take stock of what had been done so far. He takes sixteen songs, divides them into two groups according to the mood, and heads back to the studio to record acoustic versions, without nevertheless giving up that corollary of orchestrations (strings, especially) that constitute one of the most characteristic traits of his style; essentially still nothing new here, yet "Sundark And Riverlight" is without doubt a well-conceived and successful operation. Enjoyable for those who already appreciate him, perfect as a starting point to get to know the most gifted and fascinating songwriter of the new millennium, at least according to me.

It’s pleasing to note that, for the first time in his career, Paddy has finally presented a cover that matches the situation: the previous ones were all either bland or kitsch but not kitsch enough to impress; this one definitely has its charm and reason. As for the rest, being an overview, the qualities expressed are well-known, great voice, incisive and elegant lyrics, excellent songs, and great care and richness in the arrangements, even in this semi-unplugged form. Shadows (Sundark) and lights (Riverlight), that’s the idea, but the distinction isn’t as clear-cut as one might think: each of the two halves has its unequivocal and distinctive episodes that define its character, but also shades and nuances. As for "Sundark," four songs out of eight are practically mandatory choices: "Wind In The Wires", "The Libertine", "Oblivion", and "Hard Times", representing the two darker albums, as well as among the greatest classics (if they can be called such) of his production; even in these versions, they retain their charm and theatrical connotations, particularly "Oblivion" which, without the electronics and vocal effects of the original, loses eccentricity while gaining dramatically in pathos. "Overture" ideally marks the transition to the other half of the work by proposing refined folk with orchestral arrangements, not at all distant from certain episodes of the great Al Stewart, and on this line also steadies "Paris" with its sumptuous chamber-pop, taken from the first album, "Lycanthropy": two songs, already beautiful as they were, further enhanced by more sober and essential robes. "Vulture", on the other hand, is a choice incomprehensible to me: an electronic experiment similar to new wave in the original version, which I consider to be one of the least convincing episodes of Patrick Wolf's entire repertoire, if not the least convincing at all; here it improves slightly but not enough to hold up against the other proposed pieces; a too static and rigid piece, with a dark theatricality that just fails to convince; a "The Gypsy King" would have been the ideal choice for an impeccable lineup, but a mistake can happen.

If in "Sundark" the lion's share (5 out of 8) belonged to the albums "Wind In The Wires" and "The Bachelor", in "Riverlight" the same proportion is divided between "The Magic Position" and, of course, "Lupercalia"; regarding the latter, I would have something to say about the choice of tracks, instead of the appreciable "Bermondsey Street" and "Together" (the latter is perhaps the only episode to clearly lose the comparison with the original) I would have opted for "The City" and "The Future”. "House" however is there, fortunately; a mandatory choice, given that it is one of Paddy's songs to which I am most emotionally attached. All jokes aside, "House", together with "The Magic Position", is the representative song of the happiest, carefree, and exhilarating Patrick Wolf, the "positive" peak of this fine collection, but "Riverlight" is composed mostly of dreamy and reflective atmospheres, often no less immediate, just think of the exciting crescendo of "Bluebells" and "Teignmouth", a goosebump ballad. As in "Sundark", even here the excerpts from "Lycanthropy" define an uncertain borderline, the visionary "Wolf Song" with its ineffable nocturnal sweetness and "London”, which encapsulates the duality of this work: "Sun dark on darker streets, it’s violent times for weary feet, carjackers and bullet showers, a yellow sign, too many fools in power ... But see, I will be gone by morning my dear, London goodnight, forget me, I wash myself in your gray river light".

Another intriguing thing is that "Sundark And Riverlight" remains to this day the last act of Paddy Wolf's career, a career so far absolutely impeccable. Three years have passed since this beautiful collection, four since the last album of new works; I confess a certain suspense, I'm eager to discover his next moves, and I hope not to have to wait too long. No pressure, Paddy, but... No need to further dilly-dally, Patrick Wolf is great: he has a style easily recognizable but with broad horizons, voice, personality, energy, impact, no significant shortcomings. Now I’ll say something "heavy", I’ll shoot big: I see none other than him worthy of taking the baton, of inheriting the throne of ...(omitted)..., it may be that this feeling of mine remains an unfulfilled desire or, worse still, backfires on me, so let's keep things vague, let a bit of mystery hang, but I believe it, Patrick Wolf has already left many clues and demonstrations.