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Wolf has often stated that he has no allegiance to styles when it comes to recording, but The Bachelor feels most alive when it's wallowing in its own dusky ruin.
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Wolf's music has always held itself in reverence of a wild, untamed Mother Nature; and while The Bachelor is less organic and unfettered in its sonics than, say, the snap and crackle of Wind In The Wires, its message--to preserve all the things a broadband connection cannot provide for us--is clearer than ever.
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Listeners who are not acquainted with the idiosyncratic vocal stylings of Wolf's Britpop predecessors (think of Bryan Ferry, Dave Gahan and especially Morrissey) might find his singing too over the top to take seriously. The way Wolf sees it, though, very serious topics require very dramatic treatment.
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Wolf, ever so self-aware, makes The Bachelor's most intimate moments its most powerful ones, where the frivolity stops and the artist reverts to his eccentric, idealistic nature.
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The Bachelor is a thoughtful record whose greatest flaw is only that it’s overthought (though to the fans obsessive enough to fund it, that’s probably a bonus).
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The power of this album comes from the mystifyingly cohesive blend of piano ballads, orchestral choirs, heavy metal, and completely danceable electronic.
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Richly textured electro-pop teems with flamboyance and sees Wolf come over like a cosmic Martin Fry.
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There's little here in the way of cohesion, but Wolf demonstrates a nuanced affection for his craft that’s easy to appreciate.
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The Bachelor most damningly lacks the charm attendant with any of those character descriptions, continuing Wolf's ability to please one's inner music critic, but too often ignoring any sort of pleasure principle.
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While The Bachelor is not a bad listen, it takes a little more energy to understand than seems fair for what it delivers.
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Q MagazineDaft, complex, and beautiful, it's also his best yet. [Jul 2009, p.133]
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It's all gloriously indulgent--Wolf is one kook who should never try to resist his own kookiness.
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The Bachelor's overall tone reflects a nihilistic view of both romance and humanity, making for an about-face from the relative sunshine of 2007's "The Magic Position," and this tone is reflected in some of Wolf's most ambitious, baroque compositions to date.
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A rousing vessel in which Wolf has finally had the chance to channel his newfound zany confidence into his most extravagant and captivating record yet.
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When the dust settles around the closing notes of The Bachelor’s outro, 'The Messenger,' it’s clear that Wolf has achieved that rare artistic feat: total catharsis. And a beautiful batch of it, at that.
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It’s a ravishing production, and with a companion disc promised next year, feels like a fresh start for a brilliant career.
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Under The RadarNever cheaply manipulative or sentimental, The Bachelor is Wolf's most ambitious album both sonically and thematically. [Summer 2009, p.69]
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The Bachelor is quite a journey with a clear direction and theme. Wolf is going through an inner struggle and seeks to find a resolution.