Post-War

Rolling Stone (p.94) - 3.5 stars out of 5 -- "His smoky, seductive warble recalls Devendra Banhart and a less-grizzled Tom Waits..." Spin (p.113) - 3.5 stars out of 5 -- "POST-WAR brings a welcome grandeur to Ward's honeyed rasp and nimble guitar picking." Spin (p.56) - Ranked #38 in Spin's "The 40 Best Albums of 2006" -- "Ward's tender folk ballads...get to the heart of both tragedy and optimism." Entertainment Weekly (p.77) - "[There is] a lustrous but low-key grace to the arrangements....Ward's talents have never been more persuasively showcased." -- Grade: A Entertainment Weekly (p.131) - Ranked #10 in Entertainment Weekly's "Top 10 Records Of 2006" -- "Ward's drowsy vocals and acoustic fingerpicking now ring clear as a mountaintop stream." Uncut (p.133) - 4 stars out of 5 -- "POST-WAR addresses a world in flux, by turns nostalgic and bitter....He sounds newly liberated on 'Chinese Translation' and a Neko Case-abetted cover of Daniel Johnston's 'To Go Home'..." Magnet (p.109) - "[T]he subtle ebb and flow of POST-WAR makes for the most mature and cohesive set of songs in Ward's catalog." CMJ (p.5) - "Mixing guarded, eerie vocals with strummed, old-time folk and blues orchestrations, M. Ward is part Wyoming cowpoke..." No Depression (p.124) - "In his attic, Ward also discover a few other treasures. With the warm, bashful smile of a man who likes to share, he dusts them off, makes them shine, and hands them over to the listener." Mojo (Publisher) (p.111) - 4 stars out of 5 -- "[I]t's a rich, bright sounding record, albeit etched with Ward's lyrical ruefulness and voice of crumbling, lugubrious regret."

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. ~ James Christopher Monger

浮世離れしたノスタルジックな作風で、音楽愛好家のみならず多くのミュージシャンを虜にしてきた米シンガー・ソングライター、M・ウォード。通算5枚目となる新作では、その渋く枯れた音世界がさらに熟成され、まるで年代物のワインの如く芳醇な香りを放っている。味わい深いヨレた歌声と美しきフォーキー・サウンドが描き出す淡いサイケデリアは、われわれを心地良い陶酔に導いてくれること間違いなしだ。
bounce (C)田中 幹也