M. Ward is one of the finest musicians hailing from Portland, Oregon. Whether in the guise of solo recordings or the several folk-rock bands he has been a part of, Ward is forever expanding upon the boundaries already flattened by the likes of Howe Gelb, Devendra Banhart and Will Oldham. All the while retaining a respectful attitude towards the established traditions of American country-folk.
Oddly, the title track of More Rain is a short, quasi field recording of… rain. By the second song, Pirate Dial, common sense prevails as Ward once again reignites the fire in his belly. Time Won’t Wait Up manifests a degree of rock zeal before clanking pianola floods in, the song articulated by a voice which, when applied correctly, is a beautiful instrument.
Confession is a stellar, lilting lament. “There’s a place you can hide when they’re conspiring against you,” offers Ward, whilst steadfast in withholding the whereabouts of this secret location. This song is like a Tom Petty stomper and is built to last. I’m Listening (Child’s Theme) emits a reflective mood as Ward gives inner peace a chance. By this time the record is not even halfway through, but already a body of work that holds its own against anything else in the M. Ward discography.
Girl From Conejo Valley sees Ward’s unnerved vocals jostle with scattered beats and electronic crescendo’s, the jarring combination the kind to elicit bodily thrashing, and the subsequent fusing of the cranium. Slow Driving Man is a little more reflective and abstract. But Ward ticks his usual boxes and deploys these ingredients expertly.
For a slightly off-kilter Valentine’s Day mood setter, that could also be a campfire sing-along in the hinterland, look no further than You’re So Good To Me. Little Baby is a tender throwback to the roots of rock’n’roll, with the album closed out by I’m Going Higher. More Rain is yet another album that acts to secure M Ward’s standing as one of the finest songwriters working across, and excelling in, a multitude of genres.
BY BRONIUS ZUMERIS
