Cat Power

You Are Free

Matador

Cat Power’s first album of original material in five years is a stark, chilling gem.

As in 1998’s The Moon Pix, Chan Marshall mostly plays the soulful chanteuse, laying sultry vocals over aching down-tempo rock. The two covers—John Lee Hooker’s “Crawlin’ Back Spider” (renamed “Keep on Runnin’”) and Michael Hurley’s “The Werewolf Song”—show off Marshall’s unique take on the blues, with her fragile voice accentuated by well-placed string arrangements. Still, the album finds welcome release when she lets loose her punchier tendencies on tracks like “He War” and the superb “Speak For Me.”

Marshall’s lyrics address a variety of topics, but the songs are united by a theme of liberation. “Free” celebrates catharsis through music (“Just be in love when you scream that song on and on”), while “Good Woman” is a refreshingly optimistic breakup song, replete with children’s choir. Though “Names” takes on the challenging subject of child abuse, it is perhaps the album’s only misstep. Despite their good intentions, the lyrics are regrettably over-the-top and the song comes off as comically maudlin—like a disastrous combination of Tori Amos and 10,000 Maniacs.

But even “Names” is forgivable on an album this excellent, especially with the closer “Evolution,” an emotionally stark duet with Eddie Vedder. Like Cat Power’s best work, the song draws immense power from the simplicity of the music and the icy beauty of Marshall’s vocals.

—Christopher A. Kukstis

Murs

The End of the Beginning

Definitive Jux

True to form, the latest release on Definitive Jux subverts expectations. On The End of the Beginning, Murs’ debut album on the fashionable NYC label, the Living Legends rapper forges a new style fully removed from those of his likely influences.

Absent is the tripped-out drug rap of the L.A.-based Living Legends crew. Likewise, the bleeding-wrist confessionals of collaborator and tour partner Slug are difficult to spot.

Tellingly, Murs describes his music as “Sitcom Rap.” And he indeed delivers on his claim that, like Seinfeld, he can “take elements from everyday life and make it entertaining.” One only wishes that Murs had a more meaningful everyday life. With songs about compulsive shopping for Star Wars: Episode II action figures (“B.T.S.”), amateur skateboarding (“Transitions of a Rider”) and seratonin reuptake inhibitors (“Happy Pills”), the album is slim pickings for compelling topics.

What saves the album is the solid (if predictable) production and the distinct sense that Murs is being honest—a rare and valuable trait in a rapper. On the single “God’s Work,” Murs raps about paying off his rent, his car and his gas money. The chorus features one of his few Slug-like moments: “I work hard / goddamn hard / so I can wile out every weekend and buy drinks at the bar.”