At Richard Swift’s National Freedom studios, the live-to-tape ethos allowed the songs on Damien Jurado’s Maraqopa 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.