Nevertheless, several of the songs deal in the woe, despair, and dark humor that bring either a smile to or induce morose depression in Oldham’s fans. “You Want That Picture,” sung as a duet with Ashley Webber (who lends excellent backing vocals throughout much of the album), depicts a faltering mess of a relationship, with both characters lobbing accusations and finding a decidedly morbid silver lining: “I went outside/and I stood very still in the night/and I looked at the sky/and knew someday I’d die/and then everything would be alright.”

“Missing One” immediately follows and finds the relationship now over. Again backed by sparse guitar, Oldham’s newly single man admits that “missing you has only just begun.” The conflicting emotions and muted resolutions that characterize Oldham’s best songs again creep in here, with the male character saying “I wouldn’t trade my life for someone’s millions/and I know you left for a reason.” What that reason is Oldham isn’t saying.

The trio of woe concludes with “What’s Missing Is.” With some subdued instrumental flourishes that compliment the guitar, and featuring Webber singing backing vocals that meld very well with Oldham’s voice, it’s perhaps the darkest song on the album. The mournful instrumental break adds to the overall tone of despair in the song.

Produced by Lambchop’s Mark Nevers, Light’s sound relies heavily on country music elements. Although these elements have been implied in Oldham’s previous works, it’s brought to the forefront this time around. The result is an album whose production is warm and balanced; it also sounds great on both headphones and stereo. Even though Lie Down In the Light is not entirely a hopeful album, it doesn’t cozy up to abject bleakness like an old friend the same way Oldham’s previous albums have.