Name: Maraqopa
Brand: Damien Jurado

Bonus disc

Bonus disc: No

Catalogue number

SC250cd

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Colour

Colour details

Discogs ID

Format multiplier

Download code

Download code: No

Rough Trade Exclusive

Rough Trade Exclusive: No

Extended format

Extended format: No

Format detail

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Format Music US

Limited edition

Release date

2012-02-21

Signed copies

Signed copies: No

Supplier US

Secre­tly

Tax rate US

Sales:8.875

UPC / Barcode

656605025025

{"blocks": [{"data": {"text": "656605025025"}, "type": "paragraph"}]}

Total Cap

1 / CD / Extended format: No / Rough Trade Exclusive: No / Signed copies: No

Artist

Damien Jurado

Genre US

Rock-Pop

Label US

American indie/folk singer/songwriter and guitarist. His solo career began during the mid-1990s, releasing lo-fi folk based recordings on his own cassette-only label, [l188419] Gaining a local cult following in Seattle, he was brought to the attention of Sub Pop Records by Sunny Day Real Estate singer [a=Jeremy Enigk].

His musical career is marked by periods of close collaboration with various musicians. Until about "I break chairs" his work was closely linked to [a=Pedro The Lion] and [a=David Bazan]. From then until "Caught In The Trees", [a=Eric Fischer] became his companion as a musician and producer. The most significant change in sound came when he met  the late [a=Richard Swift (2)], with whom he collaborated from "St. Bartlett" to "Visions Of Us On The Land."Since "The Horizon Just Laughed" [a=Josh Gordon] has been his new musical partner.

Other frequent contributors were the members of [a=Gathered In Song], [a=Rosie Thomas] and [a387255].

His full-length albums have been released on [l77343], [l35538], [l44370] and [l363414]. In 2021 he founded [l=Maraqopa Records]. From 2004 to 2007 he also co-ran  [l77015].

welcome to maraqopa, population 2. damien jurado's newest collaboration with producer richard swift drops us into a brutal and benevolent landscape. the bold strokes and new turns the pair made with 2010's saint bartlett are taken even further. he throws open the gate on his oft insular dirges and allows them do some real wilding out in the canyon. in 'maraqopa', the vistas are miles-wide; the action is more dynamic; the close-ups sweaty and snarling. the strummed desert blues that begin 'nothing is the news' quickly bursts open into an eddie hazel-worthy supernova shred session, all of it swirling in tinny-psych and echoplex'd howls. we've never heard anything like this from jurado. fifteen years into his remarkable career, and he continues to blossom. jurado and swift establish themselves not only as inventive, trusting collaborators, but as one another's spirit animals in american outsider songcraft - lone wolves in black sheep's clothing. swift is the ennio morricone to jurado's sergio leone. at swift's national freedom studios, the live-to-tape ethos allowed these songs to expand and retract like a great beast's breath. every in-the-moment bell and whistle here is hung with a natural, casual care. and from this, each song offers up its own unique gift: the enchanting children's choir that echoes each line of jurado's lament for innocence lost on 'life away from the garden'; the breezy bossa nova that begins 'this time next year' and rises as effortless as a smoke cloud into high-noon showdown pop; 'reel to reel"'s wobbly, spector-symphony and its meta themes; the wonderful falsetto vocal work jurado pulls from himself on 'museum of flight.' the seattle times recently called jurado "seattle's folk-boom godfather," a praising recognition to be sure. but also a title jurado might not yet be ready to accept. that's a title for someone who has settled. with each visit to national freedom, jurado is exploring, taking risks. he's not only freeing his songs. the gate is opened wide to allow us all into his once-isolated musical universe. one gets the sense he's just now hitting his stride.

Maraqopa

Music US