Patrick Wolf’s work has never been what you’d call timid. With His audacious debut album, Lycanthropy; His defiantly different second album, Wind in the Wires; and His third, the spirited The Magic Position, Wolf has pushed boundaries and people’s buttons.

Visceral, Impulsive, Antagonistic and Unique; the list of superlatives and adjectives for this young man and his music could go on ad infinitum. He has been the experimental child star, emotional runaway, self-centred tearaway, generous hedonist,extreme heartbreaker, regularly heartbroken, lost and found, stricken angel, dissenting romantic, damned son, dedicated worker, tearful dreamer, planning action, celebrated artist, necessarily abstract, lysergic sage, fierce thinker, lost little boy, this charming man, shamed deserter, restless traveller, inventive composer, endlessly stressed, shadow dancer, wounded loner, wise child, occasional hermit, the cause and subject of passion. Never one to conform to artistic nor industry status quo, young Master Wolf could rightly claim pole position at the vanguard of avant-garde pop. His wonderfully willful compositions and forays into the glamorous aesthetic of leather, chains, glitter and feathers only exalt the kind of compelling self- awareness we find so irresistible. With his newest offering, The Bachelor, the British sprite flies even more daringly in the face of convention. Part one of a double album – the album is one half to the sequel, The Conqueror, due next year as a pairing named Battle – this is Patrick nearing his full powers, and preaching his passions from the pulpit. According to the artist, these two albums define chaos leading to order and the wild young loner leading to a grown up lover; they will ultimately be a tribute to a solid type of love, not the exuberant, temporary kind of love Patrick sang about on The Magic Position.

This is authentic, adventurous and fearless
writing.

Let the chaos begin.