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Moon Pix

by

Cat Power

 
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Moon Pix
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Avg: 4.0 (298 ratings)

  • We Say...

    Chan Marshall, the Atlanta-born indie chanteuse who performs as Cat Power, delivered a knockout punch with her fourth album, Moon Pix. Recorded in Australia with guitarist Mick Turner and drummer Jim White of the Dirty Three, the album pinpoints Marshall's elusive strengths as both singer and songwriter. She is a study in contradiction, a wallflower who models for the Gap, an intensely private person who stands emotionally naked on stage. Her intimate singing — her voice is best when threatening to dissolve into tears — gives her personal ruminations a focus they do not actually have. Make no mistake; these are songs of great sorrow and loss, of hidden optimism and joy, but they are all birthed in a fog. Properly absorbed, the songs linger far beyond their appointed time. Marshall stumbles at both piano and guitar, uncomfortably halting her rhythm section throughout the affecting "Metal Heart" and making the day-at-the-beach respite of "Colors and the Kids" sound like a trip through quicksand. The quirky presentation ensures that even the traditional folksong "Moonshiner" sounds as if it's coming from another planet — one worth exploring, in any case.

  • They Say...

    Cat Power's 1998 album Moon Pix continues Chan Marshall's transformation from an indie rock Cassandra into a reflective, accomplished singer/songwriter. Where her previous works were an urgent, aching mix of punk, folk, and blues, Moon Pix is truly soul(ful) music: warm, reflective, complex, and cohesive. For this album, Marshall moved the recording sessions for the album to Australia, and switched her rhythm section to the Dirty Three's Mick Turner and Jim White; the lineup changes add new depth and light to her compelling, intricate guitar work and gently insistent vocals. From the backwards drum loop on "American Flag" (borrowed from the Beastie Boys' "Paul Revere") to the fluttering, smoky flutes on "He Turns Down" to the double-tracked vocals and crashing thunderstorms of "Say," Moon Pix's expressive arrangements mirror the songs' fine emotional shadings. Marshall is sunny on the quietly hopeful "You May Know Him," hypnotic and seductive on "Cross Bones Style," and poignant on "Colors & the Kids," where she sings, "It's so hard to go into the city/Because you want to say hi, hello, I love you to everybody." As natural and refined as a pearl, Moon Pix is a collection of fragile yet strong songs that reveal Marshall's unique, personal songwriting talents in their full glory.

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