Monday, September 04, 2006
M. Ward--Post-War (2006)
Release Date-Aug 22, 2006
Genre/Style-Adult Alternative Pop/ Rock Indie Rock
Personal Rating-Recommended Strongly!!!
Biography-by Nate Cavalieri After a six-year stint with the trio Rodriguez, M. Ward began sketching out songs deeply rooted in the classic traditions of American country-folk. Rodriguez's home was in San Luis Obispo, CA, and they eventually recorded Swing Like a Metronome with Granddaddy's Jason Lytle. Ward's first solo effort came in the form of Duet for Guitars #2, which was written and recorded with the help of John King while Ward was living between Chicago and various locales on the West Coast. Eventually, Duets for Guitars #2 was placed in the hands of the ever-enigmatic Giant Stand mastermind Howe Gelb, who released it on his own Ow Om Recordings in the fall of 2000. The record enjoyed favorable reviews and a considerable amount of attention in underground rock circles and Ward supported it with a handful tours throughout the United States and Europe. His follow up, End of Amnesia, was released on Future Farmer in 2001. In 2003 he signed with Merge and released Transfiguration of Vincent, followed by Transistor Radio in 2005.
Review-by James Christopher Monger Laconic California indie minstrel M. Ward's fifth offering is a thrift shop photo album filled with histories that may or may not have been, dust bowl carnival rides, and slices of sunlit Western Americana so thick that you need a broom to sweep up the bits that fall off of the knife. Ward makes records that sound like he just wandered in off the street with a few friends and hit the record button, but what would feel lazy and unfocused in less confident hands comes off like a tutorial in old-school songwriting and performance that hearkens back to the days of Hank Williams and Leadbelly if they had had access to a modern-day studio. Post-War is not only Ward's best effort yet, it's one of the best records of the year. While his distinctive half-second-delay drawl assumes its usual position as the ghostly broadcast from a more sepia-toned time, the production is far grander than on his previous outings. Opener "Poison Cup," sounding for what it's worth like a cross between the Walker Brothers' "Sun Ain't Gonna Shine Anymore" and an outtake from Dennis Wilson's Pacific Ocean Blue, kicks things off with sneaky keyboard strings that fade into the real deal, reaching elegiac heights by the diminutive track's end. A catchy cover of Daniel Johnston's "To Go Home" features guest vocalist Neko Case breathing fire into the choruses with her trademark howl, the rowdy "Requiem" sounds like a Tom Waits version of Queen's "Fat Bottomed Girls," and the peerless "Magic Trick," with its brilliant refrain of "She's got one magic trick/just one and that's it/she disappears," kicks off a suite of tunes that snake their way through to the album's end like a shot of Apple Jack. Like early Pavement, Ward knows how to make sloppy sound succinct, and it's that magic mix of earnestness and apathy that makes Post-War the secret bounty that it is.
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