When a particular object has the connotation of being 'golden', it possesses a rare and greatly valued brilliance.  Gold's uncanny sun-drenched wonderment has made it one of the most sought after precious metals, both presently and throughout history.  In medieval Europe, countless alchemists toiled fruitlessly searching for the Philosopher's Stone in order to cultivate this treasure. Despite all their best efforts, they were never able to do so.  Gold has not been valued exclusively as an adornment, but also as a form of currency, where it has been utilized since antiquity.  When reviewing Marsen Jules' Golden, all of these factors came to the foreground, forcing me to analyze whether or not this album was 'worth its weight in gold.'  My surface examination made me question whether seven tracks, the longest of which barely tops over eight minutes, would be enough to realize an ambient collection.  Being very familiar with Jules' previous works, I was already aware that he is adept at using few instruments in the most careful, lovely manner within characteristically short tracks.

The first track, "Birkengefluester" glitters in with the most delicate guitar that immediately catches and maintains my attention until the fruition of the song.  I am transfixed by the gentle execution and the piano slipping in, complementing the ever fluttering guitar.  One could find themselves drifting through shimmering waters or wavering flaxen fields of grain when listening to this piece.  "Waehrend" and the title track "Golden" could be perceived as repetitive, because in lieu of the more malleable guitar work, Jules uses the same digital notes breaking off and reverberating, underscored by knocking, muted synth and dropping piano keys.  These songs herald one of the most important components of minimalism: use of the minutiae as a facilitator for gradual  change.  Despite the brevity of the pieces Jules is surprising able to achieve this.  "In einem Raum mit Dir" is lovely; a melange of undulating guitar and scattering piano keys with the most elusive touches of digital plucking.  Similar to the guitar foundation in the previous piece, "An einem Wintermorgen" carries out this in a completely different manner, throwing electronic crickets and bold piano chords to offset the simplicity of the guitar work.  "Von hier nach dort" is also very well done; speeding up a bit from the previous pieces, its fluidity is marked by the tension created by the layers of guitar.  In the past, I've usually been disenchanted by the use of harmonics because they are hastily executed and interrupt the song rather and complement it.  Jules tangles the harmonics with the previously acoustic framework, making sure that there is no hierarchy of parts and every one stands out appropriately.  Lastly, "Contenance," the longest song on the album and perhaps it's most tense and complicated,  creates layers of melody stacked one on top of the other, constantly alternating grabbing one's attention and interest.

After listening to this album countless times in order to form a fair opinion, I found that overall that there is something different about this album that I was missing in Jules previous efforts:  maturity.  It may be a platitudinous gesture to use the phrase 'not all that glitters is gold,' however apropos, but with this album this statement holds true.  Jules has created a beautiful and well conceived collection that transcends the constraints time and instrumentation.

-P.J. Stevenson