Master and Everyone

He has played many characters in his time; the pensive, resentment and gloom of “I See A Darkness”, the drunken, maudlin warbling of “Ease Down The Road” and now the subtle, heartbroken misogyny of “Master and Everyone”. This may not sound like the most pleasant of themes for any album but the sheer beauty with which he carries it off is really special. Quiet, calm, peaceful and glacially distressing it is one of his finest works to date.

Each song is the equal of the next – starting with the Nick Drake-esque “The Way”, as simple as a song could get with as much emotional punch as anything you’ve ever heard. Quite fantastic. We move on and find “Ain’t You Wealthy, Ain’t You Wise”, a duet with the honey-throated Marty Slayton, which confirms that the vocals recorded on this album are as strong as anything he has ever put on record. The title track is barren and pale but there is still meaning to be found in its detail of post break up resolutions.

The entire album is dotted with songs that range from extremely good to exceptional. The duets serve their role perfectly with “Maundering” recounting the biblical themes that Oldham has espoused throughout his career and Slayton’s voice seeming to be the thing for which he is driving himself to, some hope amidst the understated gloom. “Hard Life”, easily the most joyous track on the album, also benefits from this unlikely vocal combination. However, the real highlight of the album is “Wolf Among Wolves” in which the conflict of love and religion, infidelity and indifference that Oldham is intending to depict in the album really comes to the fore.

Some have criticised the album for its bleak serenity, being too pale to have an emotional impact. However, anyone who listens closely to the album will find an incredibly gorgeous, rewarding record that never quite answers the questions that Oldham poses to himself but has a lot of fun deliberating. His best work since “I See A Darkness” having the highest praise of being an album which almost matches that in its scope and vision. Quite fantastic.

I initially heard the Palace Brothers “Idle Hands Are The Devil’s Playthings” about 9 years ago and dismissed it back then as weird alternative folk. Now, here I am, almost a decade later and I am singing his praises, giving him credit for the inspiration that he is. In modern times it isn’t easy for bearded oddballs to make it into the charts, save Badly Drawn Boy, I can’t think of anyone close. Yet Oldham, infinitely more bizarre than Damon Gough, has charmed and wooed a legion of fans over the years. And once again with “Master and Everyone” Oldham has produced a record that can match any of his previous efforts – even the mind-blowingly good “I See A Darkness” and “Viva Last Blues”.

Whereas “I See A Darkness” was grandiose miserabilism based around piano and shuffling drums, this album is a beautiful, peaceful and understated pine for loves lost and loves to come based around little more than a gently plucked guitar, occasional bass and vibes. Add to the mix a voice that has evolved from a pale, fractured shiver into a brave yet still shy croon and you have a record of mood and emotion which is rarely matched these days (though 'Iron and Wine' has given a run for its money in recent months).

“The Way” introduces the album perfectly, sounding like the simplest Nick Drake song never recorded. From there the album never lets its foot of the gas, every song is a highlight. The occasional duets with Marty Slayton add emotional fuel to the fire, sounding as vocally perfect as anything which Oldham has put down on record. As such songs like “Ain’t You Wealthy, Ain’t You Wise”, “Joy and Jubilee” and “Maundering” are as engaging songs as Oldham has ever written.

Overall, the mood is one of quiet reflection and introspection, something which Bonnie Prince Billy excels at and although “I See A Darkness” may overall be a better record it is almost equalled by this.

Go and buy. Let the fun begin.

Marty Slayton, who duets with Oldham on 'Ain't You Wealthy, Ain't You Wise?' has a voice that could melt your heart, and thought there are too many highlights to mention, special praise must go to the wonderful 'Three Questions' and the closing 'Hard Life' which starts as a John Martynesque folk lament and turns itself inside out into a classic acoustic pop tune. This is lovingly crafted, bubbling with emotion and it won't sell anything like as many copies as it would in a fairer world. C'est la vie.