M. Ward has friends in high places. OK, maybe he’s just a musician with friends. But Ward’s… M. Ward has friends in high places. OK, maybe he’s just a musician with friends. But Ward’s social connections mean albums with myriad interesting guest stars lending him their talents. It’s a sneak peek into the world of music. It’s a potpourri of sound for listeners to sample. So even his acquaintances with musical talent count for a little more than the bonds of your average BFFs. He’s not afraid of a little collaboration. Ward has played with Bright Eyes in the past, but his most recent team effort is the band She ‘amp; Him, which released Volume One last year, also on Merge Records. Zooey Deschanel, the ‘She’ to Ward’s ‘Him,’ joins in on the chorus of ‘Never Had Nobody Like You.’ Her vocals add an interesting layer to the song, but the real highlight here is the drum-riff combo that streaks through the track. Simple, yet satisfying, the notes are clear and crisp. Ward’s vocals aren’t what you’d call acrobatic, so each instrument adds necessary height and depth. ‘Yeah Yeah,’ sung alternately by Ward and Deschanel, is hardly complex, but it sure is sweet. The two also come together for a cover of Buddy Holly’s ‘Rave On.’ Replacing Holly’s doo-wop sound is a super chill version. The harmonies are still there, but with Ward’s mellow tones instead of Holly’s enthusiastic pacing. The raving Ward describes comes toned down to expressions of mutual affection over cups of coffee, rather than a milkshake with two straws. But no album is complete without one feel-bad-for-yourself song. Ward composes his take on the lonely song with ‘Oh Lonesome Me.’ While the title would have you steeling yourself for a power ballad a la Eric Carmen’s ‘All By Myself,’ Ward’s song expresses loneliness without the tears or the diva-like orchestral sound. Ward creates a song that’s more folk teetering on the edge of country than power ballad. And it helps ease the pain when you have a Grammy-winning singer-songwriter at your back. You’d think it would be difficult to convey loneliness while singing a duet, but Lucinda Williams’ raspy tone and Ward’s laid-back vocals complete with strings, brassy guitar and minimal piano manage quite well. If it’s possible for instruments to sound forlorn, Ward’s done it best with the paced delivery and distinctly separate layering of sounds. Each instrument and voice seeps through speakers in a reluctant blend of musical loneliness. Coming right off of the dreary ballad is ‘Epistemology,’ which brings a decidedly cheerful reverberating run to your ears. Intensely satisfying musical interludes drain away any residual sadness lurking after ‘Oh Lonesome Me.’ Jack-Johnson-level casual guy vocals bring back you back to that folk-fun frame of mind, even if you have to look up the song title. Ward maintains a consistent voice, a style that never falters or bends to conform to the styles his musical guests favor. He can sound folk-like if placed in front of an acoustic chord or two, like in ‘For Beginners.’ He can effortlessly flow from an Arcade-Fire-like alternative sound like in ‘To Save Me’ to the almost-country of ‘Fisher of Men.’ With Ward, listeners can latch onto one recurring element through a little stylistic diversity. That’s guaranteed longevity as a musician if you’re any good. And it’s safe to say that he’s got it down. If you’re your own man, you can release a duet album with a singing poodle and still sell at least one record. Once you’ve established that sound, no matter what talent you bring in, it’s all good. All Ward needs is a few colorful guest stars, an intricate collection of sound and Hold Time comes out pitch perfect every time.