Overstating an artist’s importance is a common dilemma among music criticism. Yet with that said, I truly believe that along with Jason Molina (Songs: Ohia & Magnolia Electric Co.), that Bonnie ‘Prince’ Billy is without a doubt the greatest songwriter in many decades. He deserves as much praise and revere as Bob Dylan and Leonard Cohen. With his brilliant mid-90’s output as Palace, Palace Brothers, Palace Songs and Palace Music, his transition into his birth name (Will Oldham) and the many crucial albums released under the moniker Bonnie ‘Prince’ Billy, such as his 1999 magnum opus I See a Darkness, it is a challenge to not be hypercritical of his latest work. Though mysteriously charming, 2006’s The Letting Go and 2008’s Lie Down in the Light demonstrate that Bonnie ‘Prince’ Billy is heading towards the polished adult contemporary sound of NPR. Unfortunately, Is It The Sea? follows in the same adult contemporary vein, except with a noteworthy adjustment.
Recorded live in Scotland, Ireland and Newcastle in 2006 prior to the release of The Letting Go, on Is It The Sea? Oldham performs alongside the Celtic folk outfit Harem Scarem and British drummer Alex Neilson, who has worked with the likes of Jandek, Alasdair Roberts, Alastair Galbraith, Baby Dee, Six Organs of Admittance and Isobel Campbell. Though recent live performances show Oldham being almost as polished as his latest records, touring in the United Kingdom with a Celtic backing band brings an interesting and nearly mystical presence to his songs. Granted some tracks are complete throwaways, as is the case with “Bed is For Sleeping”, while the first half of the record gives rise to his impressive back catalog, the second half becomes a heart wrenching and remarkable presentation. Fruitfully, the finest selections on Is It The Sea? do not appear on previous Oldham releases.
The best song on the album is the Irish traditional, “Molly Bawn”, in which Molly Bawn’s love mistakes Molly for a swan and shoots her dead “by the setting of the sun”. Following Oldham’s opening verses explaining the tragedy of Molly Bawn’s demise, vocalist Eilidh Shaw (of Harem Scarem) responds as the ghost of Molly Bawn by avowing: “tell him he’s forgiven by his old Molly Bawn”. Other standouts include back-to-back maritime numbers, “Is It The Sea?” and “My Home Is The Sea”. Here Bonnie’s dear croon is gorgeously strewed across beautifully bleak instrumentation that harks upon the desolate Scottish and Irish shoreline.
Some may find Oldham backed by a Celtic group as another step towards a mainstream audience and though I too wish he would develop while still staying true to his dark witticisms and ingenious song crafting, I find Is It The Sea? to be endearing. Perhaps it’s nostalgia of the Irish summers of my childhood or an absolute obsession with Oldham's music. Regardless, the Celtic influence does provide an intriguing alteration of Oldham’s songs and works well with his stark stories.
Bardos Freedoom
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