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Moon Pix

63 customer reviews

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Product Details

  • Audio CD (March 3 2003)
  • Number of Discs: 1
  • Label: Matador Records
  • ASIN: B000009VOL
  • In-Print Editions: Audio CD  |  LP Record
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (63 customer reviews)
  • Amazon Bestsellers Rank: #35,806 in Music (See Top 100 in Music)
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1. American Flag
2. He Turns Down
3. No Sense
4. Say
5. Metal Heart
6. Back Of Your Head
7. Moonshiner
8. You May Know Him
9. Colors And The Kids
10. Cross Bones Style
11. Peking Saint

Product Description

Product Description

The 1998 album featuring Chan Marshall backed by two-thirds of the Dirty Three (the two-thirds that don't play violin). A breathtakingly beautiful, hypnotic record. If Cat Power were Van Morrison, this would be her "Astral Weeks."

Singer Chan Marshall takes intimacy to a new level with the eerily lovely song cycle of Moon Pix. The narrative revolves around a nightmare figure who beckons toward a location that sounds rather like H-E-double hockey sticks. The starkness of this ghost story is mirrored in the austerity of the atmospheric music. Joined by Jim White and Mick Turner of the Australian slow-rock band the Dirty Three, Marshall uses spare guitar, flute, and piano arrangements to create the sounds of the last singer left on a postapocalyptic landscape. As Marshall sings in "Say," "If you're looking for something easy, you might as well give it up," and that lyric is the best description of this difficult and brilliant album. --Lois Maffeo

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Customer Reviews

4.2 out of 5 stars

Most helpful customer reviews

By A Customer on May 12 2001
Format: Audio CD
Cat Power is a unique band. Chan Marshall is in her own way unique. Some might describe that as a bad thing at times, but at other times Chan can really surprise you. I've heard everything off of Moon Pix and every other album Cat Power has ever created and I must say that Cat Power enthusiasts highly over rate Chan Marshall. Describing her voice as otherworldy is humorous, indeed. Her lyrics are at times interesting but carry no weight with them. The songs are very simple, written in 3 chord. Over all, the music is plain jane and not truly witty or charismatic. The reason it holds it's audience I could not say. I find no allegiance to Cat Power, myself. The only true reason anyone really listens to Cat Power I feel is that it expresses the mood they're in. But which sane person could say that they never got sick of Cat Power? I know that I personally can only listen to half of a cd usually, and for very good reason. Cat Power lacks wittiness, creativity, charisma, practically everything. Chan Marshall's singing reminds me of a female Kurt Cobain, even at times Ian Curtis. but i find more so that she is like neither because her lyrics sound like words smashed together to no effect. i could definitely say that Cat Power is certainly not the best of indie, emo, or folk. Comparing Chan Marshall's "talents" to the likes of Hank Williams or Bob Dylan is hilarious. She falls extremely short of the two! She falls extremely short of Kurt Cobain, who was a junkie and who's lyrics were barely discernible. I would recommend this light album to a face never been kissed by the at times fluttery yet hard edged emo, but no one above that stature!
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By EriKa on Oct. 15 2000
Format: Audio CD
A friend gave me this album after she had been to a Cat Power concert in Seattle... forewarning me that although it is stark and beautiful it also creates a warm, sleepy feeling.
She was right. I listened to it in the car driving with a friend from Vancouver, B.C. back to Seattle. And while the music resonated through the car and actually inspired me (good thing, since I was driving), my companion fell into a sound slumber). This music is like a slow lullaby OR gets into your soul and stirs you. For me, Moon Pix did the latter. I listened to it ceaselessly for a few weeks. My friend informed me that Cat Power was returning to Seattle. We attended the show, but the room being dizzyingly hot and crowded coupled with the disarmingly quiet one woman performance... making the whole experience memorably somniferous. We eventually had to go into the other room and listen from afar because it was too sleep inducing... (turned out to be a mistake since we met a weird Finnish man who had not showered in a month or so!)
Whatever the case, Chan Marshall's vocals are unusual and not always beautiful. They are stark and often sound like... reality. There is no other way I can think to describe it. There is an earthy, slightly raspy tone to her vocals, the lyrics are painful and intelligent... and overall, this is an album of such ambitious searching that you cannot help but love it.
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Format: Audio CD
When another music fan mentioned Cat Power in conjunction with Shannon Wright, I decided to give Cat Power a try. Wright's multi-instrumental prowess and rich, expressive voice were a marvel, and her Flightsafety was easily the best album of 1999.
As for Cat Power, all I can say is that it was a sore, sore disappointment.
Chan Marshall's voice is pretty, but never goes beyond that. She sings in a coo, usually accompanied by a single instrument (guitar or piano). The result? Recordings that are mostly in one tempo, and not enough diversity. Whereas Wright uses twisty melodies, lyrical poetry and moments of exhilarating strength to enrich even her slower songs, Marshall stubbornly sticks to the low-fi minimalistic approach and, quite frankly, induced sleep in me. Her lyrics are nothing to write home about, and the whole album is like a nice girl next door without anything really interesting to say -- sweet for a couple of minutes, but not nearly enough to sustain a whole album's running time.
For low-fi, intimate music with heart and brains, go for Julie Doiron's Loneliest in the Morning.
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Format: Audio CD
Apparently, Chan Marshall jumped on an opportunity to get her songs recorded, and I guess she had to use whatever musicians she could get in Australia. Her voice is beautiful and the songs are haunting, often with evocative melancholic lyrics. On the first few listens, I was bored by the minimalistic arrangements and preferred the songs with the Dirty Three sidemen. As I really listened, though, the best stuff is Chan solo with guitar or piano. The bass and flute on He Turns Down is also a good accompaniment to her voice. However, the Dirty Three guys are really lame players - especially the drummer, who cannot keep time in the slightest. They detract heavily from all of the songs they appear on, even Cross Bones Style which is the closest thing to a conventional rock song on this album. There are some great things on this album, but to me the highlight is Chan and her piano on Colors and the Kids. For some reason I don't think she'd appreciate this, but Chan's voice often reminds me of Beth Orton's, which is intended as a complement. This album is interesting, but I'd really like to hear her with some good musicians.
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