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Did I miss the memo or something? Was I asleep when Jurado turned from lo-fi troubador to Cosmic American trailblazer? This is a really stunning effort which sits up there with the great and the good of psychedelic American music. From David Crosby to Fleet Foxes and back again, the album is at once tuneful, experimental and...well...rather good.
Opener ‘Magic Number’ is somewhat like Nick Drake performing on Gene Clark’s wildly ambitious ‘No Other’ record. All tumbling melodies and wierd, dusty soundscapes. Even more outrageously 60’s influenced is ‘Silver Timothy’ where the Laurel Canyon inspired freeform song structures could give fellow retro dreamer Jonathan Wilson a run for his money. Instantly timeless, classic and devoid of the wibbly guitar solos that Wilson can’t help inserting into his otherwise impressive tracks.
‘Return to Maraqopa’ and ‘Metallic Cloud’ are both excellent bursts of ‘70’s soft rock but when it goes wierder it gets even better. ‘Jericho Road’ has a wonderful delay on the vocals which leaves the listener with the impression of Flaming Lips bursting into a 1972 Neil Young recording jam. Similarly ‘Silver Donna’ is Fleet Foxes singing back up with Crosby, Stills and Nash in a marijuana drenched cabin circa ‘69.
Despite the nicks from all the best of the 60’s/70’s trailblazers. Its to Gene Clark’s ‘No Other’ which I keep returning. This record is of similar scope, similar ambition, huge swarthes of strings and keyboards decorate the songs. The album seems to exist in its own fug. Marvellously produced by Richard Swift, this is some achievement and on initial plays deserves to be filed alongside the great albums to which it aspires. Glorious.
8/10 Brad Hodgson Customer review, 6th February 2014
Using his last effort 'Maraqopa' as his blueprint, 'Brothers and Sisters of the Eternal Sun' continues Jurado's relationship with new sparring partner Richard Swift. Swift's deft production and Jurado's courageous songwriting create an absorbing and at times daunting record that, if not for the strong craft of the songs would crumble under the ambition of the project. It is evident Jurado has big concepts, just how well conveyed these are only he can tell, but the stand out element of this record is the songs themselves. Jurado continues the process of artistic experimentation that began on his earlier albums of thrift store mashups but now combined with the textured production to achieve truly cinematic beauty which echoes honesty and mirrors the panoramic beauty of the covers view of an arboretum first show on 'Maraqopa'. An ambiguous yet ambitious record that doesn't give too much away, this melancholic daydream of a record drifts on by with surprising energy. The endearing independence of Jurado both artistically and professionally seeps into the silver characters that occupy the strange world this record is set in. The unique triumph of this record is that whilst it may be psychedelic and folky, two genres that have had something of a revival of late. It doesn't have the feeling that it's covering old grounder cliche, more that it's using the past to point him to the future. Hopefully the prolific Jurado continues with this intriguing and dense sound. One feels that the 'rockier' tracks such as the single 'Silver Timothy' are where Jurado's strengths truly lie.They are done in a much more subtle manner than on his early 'I Break Chairs' album and that is hopefully where his next journey with Swift takes him. It feels as though Jurado is on the edge of greatness and is getting there in his own stride. If this is his silver effort hopefully next time we strike gold.
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