After releasing the infuriatingly eccentric Ghost of David in 2000, Damien Jurado almost had me doubting his status as one of my favorite songwriters. 1999's Rehearsals for Departure had been a fantastic outing, pairing rocking hootenanny rave-ups ("Honey Baby") with downbeat acoustic musings ("Ohio") and Jurado's classic storytelling lyrical style. Ghost of David provided a messy follow-up, half an album's worth of quality songs and a lot of "noble" experiments, meaning, ‘hey, cool idea Damien, maybe next time you'll write a song instead of that dirty abstract noise collage thingy.'

Jurado was apparently less than pleased with it also, opting to shift gears with his new release and fourth proper full-length, the stunning rock-oriented I Break Chairs. I Break Chairs is more than a fine return to form (Jurado's comfortably back in the favorites category) — it's his best record yet. The albums opening salvo of "Paper Wings," "No Dancing," and "Birdcage" provide straight forward rustic American rock on par with Son Volt's classic Trace. "To be honest, I Break Chairs really is just a straight-up rock record. For me that's all it really is," admits Jurado, 29, during a telephone interview from his Seattle home. "I got tired of doing the same record over and over again. I just couldn't imagine making another mellow record, it would just be kind of dumb."

These are strong words from a man responsible for a good portion of the more riveting introspective folk music on the independent rock scene over the last five years. But Jurado could care less about maintaining ties to the folk genre. "I can't stand the folkie label, I'm just a song-writer," says Jurado. "I want to try and write every kind of style of music around. Some people may not like the changes on this record, but I don't want to be pigeonholed. I don't want to be like Guided By Voices where everyone associates you with a particular sound. I want to be like Randy Newman, Neil Young, Lou Reed — the kind of songwriters who went all over the place."

I Break Chairs realizes Jurado's goals of sonic diversity, mixing in more atmospheric arrangements and quieter moments amidst his new found rock ‘n' roll onslaught. Jurado's backing band, made up of friends specifically assembled to play on the record and subsequently dubbed Gathered in Song, provide intriguing arrangements (xylophone anyone?) and keep Jurado's songs squarely focused throughout.

For the first time on a Damien Jurado record, the surrounding music is nearly as compelling as Jurado's evocative wordplay and unconventionally pleasing voice. "I think I'm mostly known for doing story songs, but that's part of why I made I Break Chairs the way I did," claims Juardo. "I have songs on this record like ‘Neverending Tide' where the lyrics are minimal, but the music goes on forever. I like bands like Sonic Youth and songs where the music is more the focus rather than the words. I still write songs that are stories, but I want to do other things too."

Jurado's correct in thinking that his ability to write believable stories from perspectives other than his own has always been a trademark, and it's a skill he retains throughout I Break Chairs. The riveting "Like Titanic" appears to be a carefree tale of teens on the loose, boozing and stealing for kicks before acknowledging in the chorus, "I have many problems and fears I can't ignore/I don't know the meaning of self-destruction." It's a typical Jurado moment, capturing the essence of an emotion, in this case adolescent angst, while using few words.

Jurado's economically elegant lyrical eye has been sculpted by unlikely sources. He obsessively collects cassettes of "found sound" conversations (answering machine messages, telephone conversations, taped love letters) and claims that the tapes (some of which he compiled and released on a CD entitled Postcards and Audio Letters) are hugely influential on his work as a musician.

"The audio tape collecting influences about 99 percent of what I do creatively," says Jurado. "The tapes are amazing because they enable me to draw from experiences that are real, which I always try to do, but are not necessarily my own life. It's incredible for me to write about other peoples lives — their pain, death, love and joy — and bring that to an audience. When someone says ‘Oh wow, I really connected with that song,' that means it works because the stuff I'm getting at through these tapes are really the universal important experiences of anyone. The people on the tapes are just like you and me. I don't like working from fantasy."

Jurado did just one short tour this past April with close friends Pedro the Lion in support of I Break Chairs, refusing to spend more extended time out on the road so he could be near his wife and son. His commitment to a day job as a pre-school teacher also limited his time on the road.

"The most important role in my life is providing for my family. If I can do that through music, which I would love to do, that would be great," explains Jurado. "But I don't see any major labels knocking on my door anytime soon. So you have to take care of your responsibilities, I teach pre-school, being a musician is my second job. For the most part the reason I do music is for release, I do it for me. If I were single and without responsibilities I would be on the road constantly. I like traveling and touring and meeting people. The reality is that I'm married and I have a kid. I can't just go away on tour, I have to take care of my responsibilities. It's hard being on the road and away from them."

Jurado prefers to avoid mixing his musical and family life as much as possible. "My family life doesn't really impact what I do in my songwriting," claims Jurado. "I want to keep the two sides separate, I don't want to mix oil and water. I read about songwriters like Woody Guthrie or John Lennon who I admired, they were great songwriters, but they were shitty husbands and fathers, and I don't want to be like that."

The itch to get back in the musical life has struck quickly for Jurado, however, who recently cut ties with Subpop (frustrated over their once every two years album release policy) and signed with the smaller Secret Canadian imprint. A new record (and alleged return to quieter terrain), Where Shall You Take Me?, is already in the can and will be released in early 2003, which means Jurado will be back on the road. His Minneapolis appearance, the first of the tour, will be his first live show in six months. Jurado doesn't sweat it, however, and claims to love the live environment.

"I've been comfortable playing live all my life," says Jurado. "Even at a young age my parents were putting me in talent shows and stuff and I liked being out there in front of people. It never makes me nervous to play. What makes me nervous is meeting other musicians that I like, people who I think are ‘famous.' That's what freaks me out. I love performing."


Damien Jurado plays Fri., Oct. 18 at the 7th St. Entry with Songs:Ohia and Gandydancer. 8 p.m. $10. 21+. 701 1st Ave. N., Mpls. 612-338-8388.