Lie Down in the Light came almost out of nowhere a couple of weeks ago. There was no huge ad campaign, even by Drag City's somewhat modest standards. Oddly enough, it's probably Will Oldham's most accessible and well rounded album, well, maybe ever. Of course, that's a loaded statement, considering the generally high quality of the man's work over an almost twenty year career. 1999's I see A Darkness is widely considered Will Oldham's best, and justifiably so, but in between then and now, he has displayed a restlessness (which some mistake as recklessness) of spirit, and as a result, his music hasn't always been consistent. His last album, the Letting Go, was a smooth, highly burnished album. The vocals were almost always just barely above a whisper, and the music was hushed and simple. The only flaw being the very same one which has plagued the last few Bonnie 'Prince' Billy albums; there are a few songs which come across more like sketches than finished songs. This lack of continuity has been a source of frustration, especially considering the fact that Oldham may be one the finest songwriters of his generation. It's possible that these sketches are the result of Oldham's eagerness to experiment, and for his reputation as an individual who works best at the spur of the moment. If his muse requires him to explore these seemingly inconsequential avenues in order to gain access to a unique path, then so be it.

In the case of Lie Down in the Light, however, even the relatively trite songs come across as energized and fully formed. The band, which this time includes his brother Paul, attack the material in a seemingly straightforward manner, but the arrangements have teeth, which becomes more evident of replays. Oldham's singing is upfront and he sounds more confident than ever. His vocals have come a long way from the croaky, just barely in tune caw of his Palace Brothers years. He has developed a refined and smooth voice as good as any of the old-time country singers which he is known to admire. What's most interesting about this new album, however, are the songs. A thematic cross section of the many of the different faces of the artist are represented here, yet the music is presented in such a way that a neophyte, or even a relatively mainstream music fan would not be offended. But don't let that scare you away; although it's accessible, it's doesn't earnestly try to be. The music will undoubtedly be compared to Bonnie 'Prince' Billy's Sings Greatest Palace Songs, an album of covers of his own music, backed up by professional Nashville session musicians. But Lie Down in the Light doesn't include any of the novelty of that record, and though slick, it's tasteful and rarely overblown. Producer Mark Nevers (of Lambchop) gives the album the clarity and warmth which fits the earthy tunes like a glove.

Folks who think every Bonnie 'Prince' Billy album sounds the same may not be swayed to think differently, but longtime listeners will notice subtleties such as clarinet and double tracked harmony vocals, which are employed differently than on previous albums. The subject matter of the lyrics runs the gamut from unveiled sexual exhibitionism to seemingly earnest spirituals. Oldham has always been interested in Christian themes, and more often than not he has chosen to tell tales closer to the manner of Flannery O'Connor, illustrating characters who misguidedly bend religion to make up for their brutality or even their incestuous leanings. Lie Down in the Light's approach to Christian themes is much less ironic, and is more in the vein of the Louvin Brothers, during one of their less overzealous moments. As usual, there's an array of love songs and introspective looks into relationships and self. So there's no real surprises as far as the lyrics go, but the confidence of the approach, and the quality of the band make this album a keeper. It's also an ideal place for newcomers to gain entrance to the Will Oldham catalog.