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M. Ward

Think Of Spring

    “I first heard Lady In Satin in a mega-shopping mall somewhere in San Francisco. I was about 20 years old and didn’t know much about Billie’s records or her life or how her voice changed over the years. Anyway, the sound was coming from the other side of the mall and I remember mistaking her voice for a beautiful perfectly distorted electric guitar - some other-world thing floating there on this strange mournful ocean of strings and I was hooked for life. Ten years later in 2006 I recorded an electric guitar instrumental version of “I’m A Fool To Want You” for my album Post-War. In 2018 I performed a concert in LA. of all the songs from Lady In Satin as a quintet and began preparing guitar arrangements for the recordings compiled on this record - Think of Spring. The title comes from a poem written in 1924 by Jane Brown-Thompson that eventually became “I Get Along Without You Very Well” in 1938 - the first song here. The conceit of Think of Spring is to filter the songs and strings from Lady In Satin through a single acoustic guitar using various alternate tunings and a minimal amount of textures and studio manipulation. most of the songs were recorded on an analog Tascam four track. Think of Spring is inspired by Billie Holiday, Ray Ellis, J.J. Johnson, John Fahey and Robert Johnson. Proceeds from this record will benefit Inner-City Arts & Donors Choose via PLUS1 for Black Lives Fund.” - M. Ward

    M. Ward

    Duet For Guitars

      Originally released on CD in 1999, M. Ward’s debut is a sparse, mostly live affair recorded with pal and engineer Adam Selzer of Norfolk & Western at Type Foundry Studio in Portland, OR.

      Listeners who are already accustomed to Ward’s breathy, conversational vocal delivery and soft-picked, West Coast Americana melodies will find much to love here. Duet for Guitars #2 is peppered with instrumentals in the John Fahey and Bad Timing-era Jim O’Rourke vein, and Ward’s lackadaisical picking sounds just as lazily precise here as it does on future recordings.

      There’s a real warmth to the sessions that transcends the often bare-bones production. For the most part, it sound like most takes were done live with two microphones, with the occasional overdub, and that style suits Ward’s dreamy tales of molasses-slow teenage summers (\Beautiful Car\”) and oddball parables like “”Fishing Boat Song.”” It’s also interesting to hear him shedding the inflections of some of his more obvious heroes like Neil Young (“”Who May Be Lazy””) and Bob Dylan (“”It Won’t Happen Twice””). This limited edition is an indie record store exclusive and pressed on clear vinyl!”


      Coloured LP Info: Limited clear vinyl edition.

      Herb Ward / Bob Brady & The Con Chords

      Honest To Goodness / Everybody's Goin' To The Love-In

        Two classic floor fillers from the DNSC record label.

        Featuring Herb Ward’s 1968 RCA release that goes for around £200 if you can find a copy.

        A Catacombs Club favourite that emphasizes Ward’s deep soulful vocal with a gorgeous call-andresponse bridge that leads into a truly uplifting chorus.

        Backed with Bob Brady And The Con Chords’ blueeyed soul classic from the same year.

        Often compared in style to Smokey Robinson, ‘Love In’ is a brass-led scorcher with a pulsating back beat that could have been a Motown 45.

        Both tracks remastered from the original sound sources for maximum dancefloor effect.

        M. Ward

        Migration Stories

          A prolific writer, producer and performer, M. Ward has established himself as one of modern American music’s most unique and versatile voices. For his tenth album he journeyed to Quebec, Canada to work with Arcade Fire’s Tim Kingsbury, Richard Reed Parry, producer/mixer Craig Silvey (Arcade Fire, Arctic Monkeys, Florence and the Machine) and Teddy Impakt. Together at Arcade Fire’s Montreal studios they recorded a collection of 11 songs inspired by stories of human migration.

          M. Ward’s music has always felt intricate, intimate and other worldly. With Migration Stories he breathes beautiful life into vignettes of human flight, blurring the lines between reality and fantasy as it reckons with a world that feels more divided than ever before, even as its inhabitants grow more inextricably linked by the day.

          Uon is the proUon is the project of an artist operating between Chicago and Berlin. The producer also has released music under the aliases Caveman LSD, DJ Paradise, and uses the pseudonym ‘special guest DJ’ for all mix / DJ related outings. A collage of other worldly radio transmissions, electro-magnetic static, celestial ambience and churning, mantle-crushing vibrations. If you were to have some kinda ultrasonic recording device stationed in orbit somewhere in our Milky Way, receiving frequencies far beyond the sonic spectrum of 20hz - 20khz, then this could well be the results of your efforts!


          says: Back in stock for a limited time only. Outerspace electrostatic never sounded so good!


          Ltd 12" Info: REPRESS!*
          *At new Discogs beating price! ;)

          Brown Irvin

          Run Me That Soul

          After inaugurating the label with a tape in 2015, our local friend Richard Brown (AKA Brown Irvin) returns to Motion Ward with an oblique two-track 12" entitled "Run Me That Soul". "Locution" flexes a wobbly equilibrium of dubbed dancefloor energy and amorphous acid while "Overcast" coats the B Side in a smeared gradient of ambient wash and shape-shifting stasis. A persuasive pair of parallel worlds for winding up and winding down.

          RIYL: Ghostride The Drift, Huerco S, City-2 St. Giga, Caveman LSD etc etc.

          Being lost in the outer recesses of the solar system never sounded so good!


          Ltd 12" Info: 300 copies, no repress.

          M. Ward

          What A Wonderful Industry

            Last June M.Ward surprised fans with the digital release of his ninth solo album, What A Wonderful Industry. The record finally receives a proper physical release via M.Ward Records. Over the last decade Ward has released a string of acclaimed solo albums, as well as six LPs with Zooey Deschanel in the duo She and Him. Ward is also a member of the group Monsters of Folk alongside My Morning Jacket’s Jim James, Bright Eyes’ Conor Oberst, and Mike Mogis, as well as a producer on albums for Mavis Staples, Jenny Lewis, and Carlos Forster.

            Via Ward: “This is a record inspired by people in the industry I have known - heroes and villains in equal measure. There’s some beautiful moments when you travel for a living, and I’m grateful for being part of an industry that’s taken me around the world so many times - but you quickly learn there’s a perfectly imperfect balance of cold-blooded and warm-blooded animals in the zoo. This record visits the most memorable characters. There’s a lot of very inspirational people I’ve had the pleasure to work with but there are also a few I wish I’d never met. It all tragically ends with an imaginary Griffin Mill-inspired murder ballad. This album is a reminder to keep your friends close, your enemies closer and don’t let the ones that just need an extra couple hours of therapy bring you down. Anyway I hope you like it. All names have been changed to protect the innocent".

            M. Ward returns with a stunning new album, ‘More Rain’, released on Bella Union. Ward has released a string of acclaimed solo albums over the past several years, along with five albums with Zooey Deschanel as She & Him and a 2009 collaborative album with My Morning Jacket’s Jim James and Bright Eyes’ Conor Oberst and Mike Mogis under the moniker Monsters Of Folk.

            In addition to his celebrated work as a musician, Ward is an accomplished producer, handling those duties for such luminaries as Mavis Staples, Jenny Lewis and Carlos Forster as well as his own projects.

            M. Ward knows how to live with rain. Having spent the last decadeand- a-half based in the perennially damp Portland, Oregon, the singer-songwriter and producer has learned how to shine through the soggy gloom by simply embracing its inevitability. For Ward, there is inspiration in a dark sky and harmony in foreboding winds. With his new album ‘More Rain’ he has made a true gotta-stay-indoors, rainyseason record that looks upwards through the weather while reflecting on his past.

            “I think one of the biggest mysteries of America right now is this: How are we able to process unending bad news on Page One and then go about our lives the way the style section portrays us?” says Ward. “There must be a place in our brains that allows us to take a bird’s-eye view of humanity, and I think music is good at helping people - myself included - go to that place.”

            This album, Ward’s eighth solo affair, finds the artist picking up the tempo and volume a bit from his previous release, 2012’s ‘A Wasteland Companion’. Where that record introspectively looked in from the outside, ‘More Rain’ finds Ward on the inside, gazing out. Begun four years ago and imagined initially as a DIY doo-wop album that would feature Ward experimenting with layering his own voice, it soon branched out in different directions, a move that he credits largely to his collaborators here who include REM.’s Peter Buck, Neko Case, kd lang, The Secret Sisters and Joey Spampinato of NRBQ.

            STAFF COMMENTS

            says: More warm 50's/60's vibes from the golden voiced maestro. Another enveloping record where everything feels just right. Great songs, obviously.

            "Paint en Pointe" is a compilation of selected compositions by Eugene Ward, otherwise known to most as Dro Carey / Tuff Sherm. The tracks have been taken from a series of performance collaborations with choreographer Patric Kuo over a 5 month period. Throughout the series many ensemble types were explored, ranging from solos up to large groups of as many as 16 dancers. Patric Kuo is a Sydney based dancer / choreographer originally trained in all styles, but presently heavily draws his influence from hip hop and contemporary dance. Coming from a performing arts and commercial dance background, Kuo has expanded his ideas about communicating to an audience, moving away from the traditional entertainment relationship towards an approach that includes engagement more informed by performance art. Best known for his club music productions in his Tuff Sherm and Dro Carey guises, the compilation offers an exploration of a different side of Ward’s music. "Paint en Pointe" showcases Ward the composer, synthesising his characteristic textures and percussion with structures that allow in some instances more formal approaches (informed by his study of composition at the Australian Film, Television & Radio school), while in others, even greater experimentation than in his – already quite singular - solo music work. "Paint en Pointe'" explores that tantalizing and ultra-modern dance ethos of contrasting double & half time feels to create a juxtaposition of fast and slow rhythms that echoes the sound palette of styles such as trap, juke and footwork without aping them or even directly referring to them. At times "Paint en Pointe" recalls the deconstructed, mutated, and cinematic dancefloor work of UK producers such as Wen and Logos, but embraces a more organic, experimental, and occasionally exotic approach to rhythmic structure that is comparable to the work of artists such as Fatima Al Quadri or Shackleton - combine these two worlds with a constant respect and acknowledgement for modern sound design masters such as Rashad Becker and Mika Vainio and you find a forward thinking sound that stands completely alone.

            STAFF COMMENTS

            says: Exceptional disjointed future body music from Sydney's Tuff Sherm man. Artistically and sonically in a whole world unto itself.


            It's Not Necessarily Your Height

            Eleven tracks of leftfield post rock, that brings to mind a more quiet and controlled Godspeed with a nod towards Brian Eno. Rumbling lo-fi beats / pulses with Satie-esque piano movements and ambient shifts.

            Clifford T Ward

            Singer Songwriter

            Recorded in 1972 for John Peel's "Dandelion" label, this was Ward's recording debut prior to his major hit "Gaye" on Charisma a year or two later. It's an easy going and melodious affair and deserves a listen. The tragic circumstances of his life today are in sharp contrast to the wistful hope and gentle nature of these tracks.

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