New Cat Power

pCatPower = new tCatPower();
pCatPower->FaultInject();
delete pCatPower;

could the arrangement be anymore predictable?

it may as well be norah goddamned jones

And how come she barely sounds like Beth Orton anymore?

pCatPower = new tCatPower();
pCatPower->FaultInject();
delete pCatPower;

http://duckman.pettho.com/characters/gyro.jpg

Because she sounds like Edie Brickell now?

wow, i bet you can predict all the chord changes in ramones songs too!!

sister lovers was overproduced too, but that's part of the beauty of it. it's gloopy, indulgent, and a total mess, and i couldn't imagine it working any other way.

sister lovers was overproduced too, but that's part of the beauty of it. it's gloopy, indulgent, and a total mess, and i couldn't imagine it working any other way.

I shall try to listen to the rest of the album without prejudice.

i dont think thats the real cover. but its funny as hell.
-- maria tessa sciarrino (mari...), October 13th, 2005 3:40 PM. (theoreticalgirl) (link)

I think it might actually be the real cover. The album was recorded with a bunch of Stax/Volt studio alumni, so they might as package it in the same sense (i.e. a lot of the original Stax art was awful, despite the label having the greatest logo ever)

http://oh-audrey.com/shows/index.php?args=10

She looks thrilled to be on that interwebs cooking show. She's looking good, tho.

Lookin' damn good, actually.

https://www.youtube.com/watch?v=XGMaEvhQj1E

so hey this sounds pretty good!! i tuned out but she doesn't seem to be using her ~smoky~ voice anymore, & the group sounds good

I'm glad she's moved out of her "Memphis" phase at least, even if this is just a revision of an older song.

the fact that she's quoting from a soul classic is still a bad sign

whenever this thread is bumped i briefly hope that something actually new is out :/

Admittedly I only started listening to her after learning she and Bill Callahan dated and subsequently I found Moon Pix at Goodwill, but it's been on repeat while driving since then and I'm quite taken. This track is cool and I do like a slo-mo video, but I do really respond to the sloppiness of Moon Pix which I guess is something she grew out of.

she's got a couple of real good smog covers if you haven't heard them, scott

stray cat power covers were such a cool thing, back when idk i guess i would download some from the internet. her doing sister into knockin on heaven's door, or a weird meld of schizophrenia by sonic youth into weighted down by skip spence. both amazing. there was this great paris bootleg too, with her singing what will the community think, her voice ringing out like a harmonica, all in slo-mo.

that Skip Spence/Sonic Youth track is a B-side to "Nude As The News", I love it. also yeah tons of Peel Session/random compilation covers - "Free Bird", "Dreams", "Psychic Hearts", "We Dance", etc.

Oh thank god! "King Rides By" suggests she's finally back to the spectral shimmer, instead of those tepid torch songs. Hope she got a lot of listen to Let England Shake.

I'll have to find those covers! Do they ever sing in eachother's songs a la Bill Callahan in more recent girlfriend Joanna Newsom's Ys?

I guess this went up on twitter last night (!)

http://24.media.tumblr.com/tumblr_m2t1rofDGC1qb3nrko1_500.png

HOT DAMNZ

https://www.youtube.com/watch?v=_nl3Oo4-IQ4

Anticipating.
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

September 4

Track listing:

1. Cherokee
2. Sun
3. Ruin
4. 3,6,9
5. Always On My Own
6. Real Life
7. Human Being
8. Manhattan
9. Silent Machine
10. Nothin But Time
11. Peace And Love

Produced by Chan Marshall
Mixed by Philippe Zdar

I guess this went up on twitter last night (!)

http://24.media.tumblr.com/tumblr_m2t1rofDGC1qb3nrko1_500.png

― Johnny Fever, Saturday, April 21, 2012 6:20 PM (1 month ago) Bookmark Flag Post Permalink

I HAVE HAD ALL THE MOUNTAIN DEWS

Team Chan vs Team Fiona 2012?

I feel the same about both of them (temporarily interested in new things, but actually just a fan of a few songs over all).

Hadn't seen this thread before. so just now posting my two cents on a wonderful album (later w bonus tracks, I think) review archived on thefreelancementalists.blogspot.com
Monday, March 10, 2008
The Record to Beat in '08
Cat Power's Jukebox. I used to find her tiresome, but she's not
overplaying the waif card here, even though this probably her most
romantic album, her most truly atmospheric, because in order to have
an atmosphere, you gotta have gravity, from the right substance in the
spin. Every time the music starts, her voice first reaches me as a dry
ice smoke ring 'round the moon, over the shining spine of historee
(great and good old and newer songs coming together, and coming up in
just a minute) with a vivid poise that keeps her from sounding too
earnest: it's just the right, sensuous sound (especially as it moves
through her musical companions' reverb, echo and grooves) for her
cosmic quest, for romantic and spiritual fulfillment. ( Janis Joplin
answered, when asked what Today's Youth are looking for: "Sincerity,
and a good time." Hey hay hey.) The confidence as well as
sensitivity—so of course "New York New York," with just a simple
adjustment of its seatbelt, should have this tensile lope and sway,
backbeating right past Radio City rinky-tink, with ingenue still in
tow/charge. She's totally at home with the Dirty Dozen Blues Band,
especially drummer Jim White, of the Dirty Three and recent,
noteworthy collabs with Nina Natashia; Judah Bauer of the Jon Spencer
Blues Explosion(! But he does not play no fratblooze here) is also
aboard (with Eric Papparozzi on bass and Greg Foreman's keyboards),
but this little combo is less like a blues band is usually expected to
be, more like rockers who have learned much from the Hi Rhythm
Section, in terms of taut, spare punctuation and momentum, fitting
Chan Marshall's vibrant reveries perfectly (the one time she holds
back a bit, seemingly getting lost, on "A Woman Left Lonely,"
Foreman's electric piano tremolo gets more emphatic, rallying her,
appropriately for a song about a woman who's coming back from
rejection). The sequence of tracks is very effective: after "New York
New York," Hank Williams' "Ramblin Man" is recast as "Ramblin' Woman,"
and the original's melodramatic, spooked compulsion is tempered by a
certain expansiveness: she knows this kind of journey is where she's
meant to be, not that it doesn't matter who and what she finds. A new
version of her "Metal Heart" follows, with a confrontation, a note to
self and other, that steadfastness , mettle and "metal" is in the
sound, not heavy metal, but the electricity moving through natural
elements, 20th Century engine-uity revving up again in these old
songs, which sound as timely as ever. The sleek, starlit,
meta-metal's also there in Lee Clayton's "Silver Stallion" which
practical-minded Cowgirl Chan leads from mythology or decoration, out
into her own prospects, and "Aretha" is wistfully, unpretentiously
invoked, to re-inspire her lover and herself, also (as repeated
listenings reward), I think of this as prefiguring later songs, as I
relate it to Dylan's line from Tarantuala, "Aretha, crystal jukebox
queen (the album's title from this?), I shall play you as my trump
card." I think of that because I know she'll reach Dylan's own "I
Believe In You," with Bauer accentuating the Stonesy riff with which
Dylan foresaw "Start Me Up," and White's drum leaps develop a hip hop
cast, kicking off the mud of a town through which one proud outcast
searches for another. Marshall's own "Song For Bobby, " reminiscing
about various near-misses with the Master, could easily be gushy, but
she's even too grown-up for that now. She strikingly connects
Dylanesque phrasing to Billie Holiday's, on the latter's "Hush Now
(Don't Explain)," reminding me of D. 's description of his later songs
as "overlapping phrases on an electrical grid," the overlapping of
expression and reticence, austerity and warmth in the shadows. Which
is also where the hope and fear meet in, Jessie May Hemphill's "Lord
Help," just as "We're all reborn, to face the morning sun." Uh, and so
on, with some surprises: I didn't even recognize Joni Mitchell's
passive-aggressive self-pity/guilt-tripping you-dumped-me classic,
"Blue," at first, cos Chan doesn't imitate her at all! Not even in
this age of girly-swirly chamber folk, not at all (and the band's just
bumpin' at the walls of the break-up, you know it'll all work out as
it should or will). This girl is a woman now! (But not too scary with
it.) ------Don Allred

Ruin is great.

Mixed by Philippe Zdar

o_O

i didn't like jukebox at all. hope the new one is hundreds of times better.

i don't like the new single at all. there is something mor and polished about it. i think she has lost it. she does not sound like herself any more.

LOVE the new single, so glad she's back. Fiona AND Chan in the same year, I can hardly contain myself!!!

Based on the show I saw, and what I've read of the others, these are some of the most confounding shows she's ever played. They begin really shaky (so much so that a lot of people leave) and then end triumphantly. At times the juxtaposition between the good and the bad felt deliberate, almost as if she was faking the bad parts. I tossed around some theories about what might have been going on in my review of the show, but really, I have no idea what she was going for.

Anyway, as a fan I'm glad I went, because it was an experience and when she hits her stride it's still really glorious.

looked at a few setlists and found almost nothing from moon pix or wwtct, but a TON of covers. uninterested. love her new hairdo tho

might be worth going just to do a head-count of all different eras of cat power haircuts the audience is miming

maybe like a cat power people's choice awards, researched without having actually talked to anyone

http://www.buzzfeed.com/jwray/surrounded-by-legends#.wbRYqRy7e

that was excellent, thanks