Rising from the ashes of his San Luis Obispo-based combo Rodriguez (one self-titled album, produced by Grandaddy's Jason Lytle), Ward's solo career began in 2000 when Giant Sand's Howe Gelb took a shine to his music and released Ward's debut disc, Duet For Guitars #2, on Gelb's Ow Om label. End Of Amnesia, Ward's introspective 2001 sophomore effort, sounds like it was recorded in a dusty attic between ancient steamer trunks and long-forgotten dress dummies. The vocals appear almost as an afterthought. When he started singing, it was just another vehicle for the guitar, Ward says. "Guitar has always been my main passion. I feel like I'm learning over the past couple of years how to make my singing more of an instrument."

Ward is at a loss to explain the origin of his singing voice, a three-pack-a-day rasp that sounds like it should come from a 75-year-old Mississippi Delta bluesman. It's as much a non sequitur as the Southern-fried vocal delivery used 40 years ago by Creedence Clearwater Revival's John Fogerty, a man who grew up just north of Oakland, Calif. "I don't smoke," Ward says. "I started recording in my parents' house when I was 16 and, not wanting to wake anybody up, you just start to sing quieter and play quieter. I think that's why my voice is so messed-up. People who only know the records think I'm really old or from the South."

Ward's spellbinding third album, 2003's Transfiguration Of Vincent (Merge), features a bigger sound than any of his previous efforts. And it ignores musical boundaries like a barefoot kid with a fishing pole hopping over a barbed-wire fence. Songs range from a fiery, Dylan/Neil Young-like "Helicopter" ("I wanted a Sun Records sound on that," he says) to "A Voice At The End Of The Line," just as fuzzy and warm as those early, moonlit Brian Wilson/Beach Boys ballads like "Your Summer Dream."

The very theme of Ward's fourth longplayer, Transistor Radio, finds him glancing into the rearview mirror towards a time when commercial radio was still a vital life force in America. "The idea of the record was to go back in time to when radio was brand new to me with a lot more flavors than it has now. It was interesting going to England recently and talking to people about (the late, revered U.K. disc jockey) John Peel and how the DJ who plays what he's passionate about has turned into the robot DJ who can only play what's been approved by the corporation." Like golden-age radio, itself, Ward's loving tribute to the beloved medium is stocked with wonderful songs.

M. Ward returns in August with the release of his new album Post-War. It's another stunner . The hushed and weathered tones of M. Ward are easily some of the most intoxicating sounds on earth. Whether creating his own songs, writing and producing for others, or playing covers with his remarkably ramshackle backing band, Matt breathes irresistable life into everything he does. Post-War occupies its own special place and time, filled with enchanting nooks and crannies. Layered with an innate and special grace, the songs unfold their world wearied tales of life, love and human kindness. Guest appearances included from Jim James, Neko Case and Mike Mogis.

(Compiled from www.mergerecords.com)