Indeed, Post-War has an oddly larger-than-life, mythical quality to it from beginning to end, not akin to the narcissistic Greek Gods, but more in step with the often ignored American Tall Tales. Characters and feelings sweep through this album that could stand shoulder to shoulder with the John Henrys, Paul Bunyans, and Calamity Janes of renown. The songs are real people, with exaggerated flaws which are both repulsive and desirous ("Magic Trick"); they are epic soundscapes which can stir the imagination with little prodding (the neo-surf feel of "Neptune's Net," which made this reviewer want to buy a boogie board and seek out a pet dolphin); and they are moments which are infinitely relatable, despite any grandeur or poetry flung at its core ("Right in the Head").
There may be records which are more glitzy, glamourous, and initially more exciting than Post-War, but there are few which are so comfortably sculpted. What's more, this is not a record for people who wish to be challenged strictly within the confines of its style, but more for those in search of inspiration that transcends trends and genres. Luckily for us, though, that kind of inspiration just happens to be M. Ward's specialty.
Reviewed by Megan Giddings
Article comments
1 - Connie Phillips
This article has been placed at the Advance.net websites, a site affiliated with about 12 newspapers.
One such site is here.
2 - Brandon
This isn''t an attack, I just want to make a correction.
Matt did n't take Roy Orbison's place on Handle With Care...Ben Gibbard did. Matt took Jeff Lynne, and Bob Dylan's place.
Sorry.