Bonnie "Prince" Billy fans looking for a return to the surprisingly ornate, Grateful Dead-inspired country-folk of 2009's Beware may come away a tad disappointed in the ultra-sparse yet warm and winning Wolfroy Goes to Town. The ten songs, nearly all of which arrive via guitar, bass, and Oldham's weathered croon, feel lived in and coveted. It's typical Oldham fare, with highlights coming from opener "No Match," which builds to a powerful, harmonious climax, and the nearly seven-minute "Black Captain," an epic yarn of nobility and heartache that sounds like it's been around for a century or two. Coming off like a murkier, more intimate version of 2010's Wonder Show of the World with the Cairo Gang, Wolfroy's all about lonesome beauty, and the idiosyncratic wordplay that has become Oldham's forte since settling on the Bonnie "Prince" Billy moniker. ~ James Christopher Monger
Spin (p.68) - "Most of the record crawls by quietly, like a wary hunter."
Magnet (p.52) - "WOLFROY GOES TO TOWN is a meditative and sparse collection....On tracks like 'We Are Unhappy,' he still sees a darkness."
The Wire (p.56) - "Oldham orbits a remarkably consistent sonic and lyrical solar system -- a Kentucky Kierkegaard for the mildly melancholy..."
Record Collector (magazine) (p.90) - 4 stars out of 5 -- "WOLFROY GOES TO TOWN quietly features some sterling additions to Oldham's songbook. Album centerpiece 'Black Captain' recalls vintage Palace material in its musical economy..."
Uncut (magazine) (p.81) - 4 stars out of 5 -- "[U]ncharacteristically respectful of the traditional country and hushed folk idioms that make it up."