Q cited the album as "his masterpiece, ushering in a direct and less mythic style of songwriting". Reviewing its 2012 reissue, Aaron Lavery of Drowned in Sound called I See a Darkness Oldham's "finest achievement thus far" and the "essential release" in his discography. In 2002, Matt LeMay of Stylus Magazine wrote that "by addressing concepts so grand with such sincerity and skill, the album is incredibly powerful under even the most mundane of circumstances". The album was also included in the book 1001 Albums You Must Hear Before You Die. In 2004, Stylus Magazine placed I See a Darkness at number 171 on its list of the 200 best albums of all time, while in 2006, Mojo deemed it a "modern classic" and the twentieth best album released during the magazine's lifetime.
Pitchfork ranked it the ninth best album of the 1990s. I See a Darkness has been ranked in several publications' lists of best albums. Simon Williams of NME was more reserved in his praise of the album, advising listeners that "patience is a virtue" while nonetheless calling it a "delicate, intelligent record". Club's Stephen Thompson remarked that I See a Darkness was the "most appropriate synthesis yet of Oldham's vocals and backing band". Gregg Rounds of AllMusic wrote that it showcased "a more melodic style than the veteran Palace listener might be used to", while at the same time noting that Oldham "hasn't abandoned his foundation of mordant lyrics and minimalist arrangements, but he has built a variety of different layers that make this album an emotional and pleasurable listening experience". Samir Khan of Pitchfork described the album as Oldham's "consummate offering" and the "type of record that demands solitary reverence". I See a Darkness received generally positive reviews from music critics.
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The album closes with a short and rare love song called "Raining in Darling" Oldham stretches his voice to its most impressive limits, and the number is touching and hopeful.Critical reception Professional ratings Review scores "Today I Was an Evil One" introduces a horn section that drives home his morbid words in a strangely elegant manner. The album takes its most surprising turn on "Madeleine-Mary," a Celtic-style folk song set to a Rastafarian guitar sound. This is all too evident in "Death to Everyone," Oldham punches out his bitter poetry in his most somber voice. Oldham has always given the kind of energy to his character's voices that most people are afraid to relate to. In "Nomadic Revery," Oldham draws upon his classic Appalachian sound it's the kind of song that begs you to join in. Oldham definitely hasn't abandoned his foundation of mordant lyrics and minimalist arrangements, but he has built a variety of different layers that make this album an emotional and pleasurable listening experience.
Will Oldham is known for his "do-it-yourself punk aesthetic and blunt honesty," and his music has been likened to Americana, folk, roots, country, punk, and indie rock, although Oldham is dissatisfied with these labels: "I don’t think it’s roots music, though it’s definitely influenced by Western popular music." He has been called an "Appalachian post-punk solipsist" and is notable for "his unique voice-a fragile sort-of warble frittering around haunted melodies in the American folk or country tradition."ĪMG: "Bonnie "Prince" Billy's album I See a Darkness seems to pick up where Will Oldham's 1997 album Joya left off a more melodic style than the veteran Palace listener might be used to.
Prior to adopting his current moniker, he performed and recorded under various permutations of the Palace name, including Palace Brothers, Palace Songs, and Palace Music (1993-1997). Bonnie 'Prince' Billy (born 24 December 1970 in Louisville, Kentucky), is an American singer, songwriter, and actor.
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