Wild Arrow’s Mike Law is a songwriter who has caught the ear and admiration of other musicians since his teenage years. Perhaps you'd say a musican's, musician? His early bands were asked to share stages with a broad range of musicians from Fugazi to the Violent Femmes, Minus the Bear to Beach House and Converge. Closely aligned with the DIY scene of Boston and then NYC, Law has released a dozen records with his bands EULCID, New Idea Society and now Wild Arrows.

The respect of his peers might find one of the most influential drummers of his generation, Alan Cage of Quicksand on the new Wild Arrows album or Stephen Brodsky of Cave In switching vocals back and forth with Law in their band New Idea Society on tours throughout the U.S., Europe and Japan. After the last Wild Arrows album unexpectedly dipped into a Dylan/Prine hybrid of poetry and Low-style modern production Law even appeared in a group video singing with Patti Smith, Michael Stipe and Joan Baez to raise awareness to vote.

All the kinetic energy seems to have led to the upcoming Wild Arrows album and Law's best collection of work to date, Loving the Void.

On Loving The Void Mike Law says: “There are a few things that happen on this record I've never heard before and moods that blend together in a way that is new to my ears, very much on purpose. There is no filler, it's all in service to the song and album. I wanted to make an album that is a linear document of a human lifespan but only with emotions that you feel at every stage of life, just in different ways at each age. Not long ago I realized that with important feelings there is no present, future, or past tense. With important feelings it's all a prism that reflects differently at different moments. For example you feel anger and love as a child, an adult and as an old person. I wanted to sing in no tense and all these songs do that. They are that prism"

The album opener is a piano version of the song "Silent Film" manipulated through a cassette 4-track under an impromptu recording of a friend of the band reading Law's favorite passage from the Surrealist book Les Chants de Maldoror. The track is one of the album's most accessible songs and runs through a litany of youthful confusion into the Nick Cave-esqe "New Name.” "Reasoning with the Guards,” one of the strongest and immediately compelling tracks follows soon after offering perhaps the most evocative and best lyrics on the album. The unexpected ending serves as a dramatic highlight moves instantly into its companion song "Almost Like Oblivion," which feels like it is quite literally bending time as you listen.

Loving the Void really hits its stride in the second half as "Dark Glass," the masterful "Here's the Ghost" and the understated "No Lights" round off the record. All having built toward the almost transcendent acceptance of the albums closer "Night Time" where Law sings softly about someone or something skipping the ending and how the things that he said, "couldn't mean what I meant"

Law adds, “It's definitely a conceptual album. There are pieces of in-between songs that I've been playing since I was 17 and it's meant to be heard in order. There's a build, not in intensity but in purpose."

Like most of Law's best work it is an album filled with dichotomy and the most thrilling moments on record he's been able to capture. While there may seem to be peace at the end of the album it might be disturbed with Law having made something that truly can't be ignored no matter how hard he tries.