Patrick Wolf
The Bachelor

What can be said about one of the most underrated albums in history?

Or at least, that was my impression.

For me, it was easy to remain glued to my chair just with the intro "Kriespiel", which resembles a futuristic siren to the ear.
The intro of this album was enough to impress me, something that only Patrick Wolf, a young but talented musician, could do.
"Hardtimes", the second track, is simply innovative and fantastic, with a mix of sounds as distant as they are harmonious with each other.
Patrick's voice has certainly improved and become more trained in this latest album, which makes the listening experience pleasant both musically and vocally.
The use of the choir, although it might seem boring, was a very shrewd choice by the musician, to make the use of different instruments together more listenable.
"Oblivion" keeps you on the edge of your seat, with its poignant violin and pounding beat softened by the electric guitar in the background (could there be a better pair of instruments?!).
The lyrics also struck me particularly, as in the lines: "I followed the hunt, far as I could...through desert weathers, petrified wood and I took one shot in the dark, back fired the bullet, silver to heart." Very poetic and evocative verses, which manage to break the harshness of the sound. From this song, you start to hear the accompaniment of a female voice: Tilda Swinton, who can almost appear annoying at certain points, while in others is perfectly integrated with the rest of the music.

"The bachelor" starts with vaguely Celtic melodies (as in other parts of the album) with a rhythm that gradually becomes more and more pressing and choral, together with the participation of Eliza Carthy, so much so as to resemble a medieval ballad.
"Damaris" still contains this kind of hints, probably much loved by the artist, finally gaining a more electronic but minimal character, just hinted at, which leaves good space for the violin that accompanies the entire track. This one too is certainly poignant and very suggestive: "Gypsy, stray, bleak orphan, no one could say the land you came from but deep in my arms you belonged, but nobody knows, nobody knows, how I wait for you.. summer, spring, autumn, winter, here perishing." Evidently dedicated to an abandoned love. From this Patrick also shows himself as an excellent writer, besides being a composer.

In "Thickets" the violin is always predominant, and the song proceeds lightly, like an ancient lullaby or nursery rhyme, almost touching banality but never really reaching it.
With "Count of casualty" you return to electronic sounds deftly mixed with a choir that directs much of the melody.
"Who Will" is perhaps one of the most boring songs, approaching gospel (or perhaps what one might call poor gospel).
"Vulture" at first listen might appear mediocre, if not downright unlistenable, but by focusing on the beat (masterfully handled by Patrick) it's not difficult to be enchanted by this track. The choice of this sound, with the voice distortion, makes it sensual and eclectic.
Listening to "Blackdown" brings back calmer and more classical musicality, through which the violinist tends to underline the poetic nature of the words, preferring the piano over other instruments.

Patrick indeed demonstrates himself as a well-rounded musician, not just a simple violinist with ambitions towards electronics.
"The sun is often out" is a completely original gospel, which first starts as a monologue by the artist, then rises to a crescendo of choir and music. Once again in this case, Patrick does not fail to show off writing skills with: " I throw my flowers in the river, tears are being shed, you are missed. And the poem reads and I remember the day you told me that: the sun, the sun, the sun the sun is often out." Listening to it with closed eyes, it's truly impossible not to feel chills.
"Theseus" has a pressing and innovative rhythm, in which Patrick Wolf reigns supreme, moving between the guitar, violin, and drums, as if telling a story.
Paying particular attention to the music you can also hear a sitar in the background (if I'm not mistaken).
"Battle" certainly reminds one of Patrick's early albums, and it surely clashes a bit with the rest of the album, also referring to British indie, however, it is a well-achieved track.

"The Messenger" encapsulates a bit all the elements of the album, with a very clear musicality although rich in effects, and a poetic text highlighted by the artist's crystalline voice: "Make life as traveller, work as messenger, let my pain and my pleasure, all one be". The closing of this album seems like a confession, or perhaps a prayer, through which the English violinist seems to open his genius and his emotions to the listeners.

Tracklist:

1. "Kriegspiel" - 0:47
2. "Hard Times" - 3:33
3. "Oblivion (Ft. Tilda Swinton as "The Voice of Hope")" - 3:24
4. "The Bachelor (Ft. Eliza Carthy)" - 3:13
5. "Damaris" - 5:28
6. "Thickets (Ft. Tilda Swinton as "The Voice of Hope")" - 4:08
7. "Count of Casualty" - 5:03
8. "Who Will?" - 3:31
9. "Vulture" - 3:22
10. "Blackdown" - 5:21
11. "The Sun Is Often Out" - 3:33
12. "Theseus (Ft. Tilda Swinton as "The Voice of Hope")" - 4:40
13. "Battle" - 3:07
14. "The Messenger" - 3:39