Reviews
Patrick Wolf
The Magic Position
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If one thing, and one thing only, could be said about Patrick Wolf is that the man has an uncanny knack for melody.
Whether ranging between brooding, melancholy pop-rock or bouncing glorious chamber-pop, he runs the gamut on his third effort, The Magic Position.
Speaking from a personal standpoint, Wolf manages to incorporate many elements that draw me to an album -- and ones that earn a permanent place in my collection. Namely, music that soars, tunes that are slightly repetitive yet extremely catchy and, most importantly things that are well layered. When I can hearing the gentle climb of a soprano voice gradually joined by a violin and piano on "Finale,"that kind of music makes me smile. Oh, and I can't leave out the liberal use of violins, handclaps, hoots and sound effects, to boot, that are similarly found on this album.
In short, this album has everything I look for in good music.
It doesn't take long for Wolf's flair for melody, and a subtle knack for storytelling, to come into play -- take the opening track "Overture," for instance. What a stunning opening, with strong drum beats, soothing yet terse violins and lyrics that are thoughtful -- even if they draw upon the all-too-often trend toward love-and-loss in modern rock. It's slightly dark and brooding... yet, it's also uplifting because it's so damned good. Similar quality is found on the eponymous "Magic Position." I fell in love with Wolf's music after this song -- what a bouncy, joyous and wonderful melifluous tune. Whether you're drawn to Wolf's classically trained sensibilities -- piano, violin, etc -- or you just love the overall chamber-pop essence of this song, it's the best Wolf has to offer here. That doesn't mean there aren't other gems, too. "Get Lost" bears a remarkable resemblance in terms of quality to "Magic Position," thought I enjoy the violins more in the former tune. "Bluebells," with its emphasis on melancholia stands out because Wolf doesn't dwell -- he lingers on the sad moments before rising up toward optimism once again. The same is true for "Magpie."
All that said, my admiration for Wolf isn't universal -- certain songs are way too broody, moody and drab. In performing a little background research on Mr. Wolf, I've discovered that his previous two albums -- Lycanthropy (2003) and Wind in the Wires (2005) -- were downright depressing, to say the least with an adolescent flair to them.
Those feelings came to the fore in half a dozen tunes -- previously mentioned melancholy -- but I could care less for the feelings and music evoked on "Augustine" and "Secret Garden." Placed in the middle of the album, Wolf was wise to do so -- since both songs are easily forgettable and way too overwrought to engage my interest -- the listener has already been hooked, but by not ending on these tunes, a good sonic taste lingers.
But, it's not fair to degrade such a powerful and compelling album due to one song. Patrick Wolf, his flair for melody, poppy musical stylings mixed with storyteling and melancholy was, truly, a contribution to the world of music in 2007. And rightly deserves its place on my list of favourite albums of 2007.
Score: 8.8
- Kyle Rea