MOG

rating 9.0
summary the "Prince" releases the counterpoint to his previous masterwork, "I See A Darkness" - and leaves us wondering which is more terrifying.

There are few heroes in the indie-world.

In this landscape of conciousness connected almost solely on the single principle of popularity-as-poison it's near impossible for legends to manifest themselves - the bright flame of their influence imploding as quickly as it's birthed thanks to hipsters near impenetrable shell of novelty.  

Saint-hood, now that's another story.  Cut your career (the Pixies, Pavement, Neutral Milk Hotel) or life tragically short (see Nick Drake, Elliot Smith) and suddenly being a part of the incrowd of underground appreciation is necessary.  It's a harsh price to pay to become the patron saint of indie-folk, rock, electronica, or it's myriad cross-breeds and cast-offs....but martyrdom is a near requirement for acceptance in the lo-fi halls of the indie-pantheon.  Yet there are a few who have eschewed popularity AND personal tragedy, quietly allowing their influence to grow along with their cred.  And of these rarest of champions, there is one who stands taller, reaches wider and grows beardier than the rest.  Who is this virtual indie-pope - still living, embattled, and dispensing reverenced illuminations?

Will Oldham (a.k.a. Bonnie "Prince" Billy...though don't ask why) has been releasing an album, EP, collaboration or guest appearance at least once a year for almost two decades (and sometimes all of the above) and though it's almost always worth listening to, few have actually, you know, heard of him.  If you haven't, it's ok...just know that his name is held in reverence among several names you may be aware of...such as Steve Albini, Johnny Cash, Matt Sweeney, Bjork, Calexico, Tortoise, Iron and Wine, Sun Kil Moon, Sage Francis, Slint, Scout Niblett, Jason Molina, Biffy Clyro, Jeffrey Lewis and Kanye West (no joke).  He has no less than three albums frequently counted in Best of All Time lists.  And yet, even some of the most  entrenched, vinyl hoarding, back of the record shop musical elitists have been found to reply "Bonnie who?".  Being ubiquitous and unknown is all part of the Will Oldham genius -  his is music that doesn't just demand to be discovered, it wills itself to be so.

So what of this newest true album - Lie Down in the Light?  Discovery is one thing, but a few ground rules can sure help.  First and foremost, the type of music he plays is the least important question to address ("Appalachian post-punk solipsist" if you really want to know).  There's his voice...an unmistakable warble, as fragile and twisting as a vein of glass - But what is truly important, however, is what his music does - alternately plumbing the depths of life, death, existence, raw sex, blind faith, deep regret, and with this album "terrible rapture".  Best explained as the companion piece to 1999's seminal I See A Darkness (widely regarded his best album) Lie Down In The Light is equally harrowing but with a different take.  Where Darkness was a doomed laying bare of the primordial fear we all have of accepting our inevitable death and potential nothingness - Lie Down In The Light addresses the opposite concern.  What if instead of nothingness, we are instead filled with impossible light - the perfect illumination of our joys, follies, weaknesses - and the mysteries of the universe.  With perfect comprehension comes either perfect joy or perfect pain....yet all one can do is accept it.  Take the lyrics to the title track...a conversation with the Maker that ends with "it's as if we tried to know what we can't really know" - the futility of trying to be anything other than futile.  True acceptance is passiveness - a sobering thought. 

Not that it's all gloom. Make no mistake Lie Down In The Light is a feverish celebration of life, it's just a celebration fueled by the sudden intensity one has to live and burn and love has hard as you can before it all passes away.  There have been times when i'm listening to particularly loved music, and the sudden fear that i'll die before i've grown tired of listened to it all sweeps over me.  It's irrational I guess, but a real emotion nonetheless- an emotion I sense all throughout this album.  The posted song, So Everyone, is a good example.  Lyrically, it's a plea for public oral sex.  Crude it would seem, but musically, with vocal help from fiercly voiced Ashley Webber, it's transformed into a desperate plea - if you love me, truly love me, show that commitment in the rawest, clearest, deepest way you can - right here and right now because our time is short.  It's harsh, but the metaphor rings elemental:  who hasn't wanted from the person they love the clearest possible act of commitment (if not submission), whatever that might be.  It's beyond sexual - it's giving yourself to a person %100 percent.  Few have given such commitment, even fewer could accept it.

Listen to this, or almost any Oldham album (see also his many released under the "Palace" moniker) and find something more important than the sounds coming out of the speaker - find the soul of a musician who's given himself completely to his craft. It's not Oldham's best, but it IS him giving his heroic best - and the need for heros in the current musical landscape has never been more dire.