If there's a dictionary definition of "indie" music, the ever-inscrutable and prolific Will Oldham should be pictured with the listing, despite the fact that what he creates is in most ways not indie rock -- or alt-country, or freak folk, or whatever other convenient tag is in the current vernacular to pigeonhole a songwriter or band. Oldham's work over the years is a very pure representation of the "independent" part of what indie music is, as he has maintained an unmistakable sound of his own while winding along an often indirect path through performing names and musical styles.
Usually sticking with variations on the Despite the package it's wrapped in, I wouldn't necessarily call Beware too much darker in lyrical tone than the Oldham-ized love and family songs of Light. While that album continued a trend towards a much fuller, mellowly beautiful sound than the sparse Appalachian punk of his Palace days, Beware goes even farther at times, adding full drums, more electric instruments and choral backing, along with occasional pop and country flourishes.
If musical change is one near-constant in the Bonnie Prince Billy universe, the other is Oldham's enigmatic, arresting lyrics, which keep me coming back no matter what sort of backing they're wrapped in. While the accessible sound of Beware is more likely to confuse fans who haven't caught up with his muse in awhile than cause a magical breakthrough to huge popular success, the album is also another great addition to Oldham's body of work. (Drag City, 2009)
