Cat Power - You Are Free
(Matador)
Housed in a recycled paper sleeve that is as delicate as the voice contained within, Cat Power breaks a long silence with You Are Free. Damning years' of lofty expectations from critics and fans, it is a mature, well-crafted and worthy successor to Chan Marshall's masterful Moon Pix. Gone is the slow backing of the Dirty Three's Mick Turner and Jim White, but the new record has largely retained the overall dreamy and minimalist feel of both 1998's Moon Pix and 2000's The Covers Record. Marshall's songs this time around are focused largely on her signature loose guitar sound and gentle piano work. For the moments when the sound needs to be pumped up into something more closely resembling rock Dave Grohl unexpectedly finds his way behind the drums and helps move the songs along. Strange accompaniment, perhaps, but it is an addition that works.
When she's on, Marshall's songs are completely haunting. "Good Woman," "Names," and "I Don't Blame You" all perfectly demonstrate how Marshall's voice and knack for song arrangement can be completely stunning and without comparison. "Good Woman" is a song that has been in the works for years, dating back to the Moon Pix tour. Over time it has progressed from being a slow moving rock song to the present, where its album incarnation is quiet and more focused on both vocal work and the elegant style of Warren Ellis' violin. It's hard to tell in what sort of context the track's narrator is trying to live up to being a good woman—is it a pledge to a lover of what she herself wants to be for him over time? Is it an apology to make up for past actions? The ambiguity makes the performance that much more memorable. "Names" is the sort of song that could so easily fall flat and not deliver. Anytime an artist takes the risk to unfold a vague narrative of people and their failings/outcomes, there is always a chance that the end product will be preachy, stunted, or simply bad. Here Marshall has found a way to blend a "ripped from the headlines" sort of chronicle of bad things befalling numerous children into a chilling and moving song. One has to wonder if "I Don't Blame You" is a sort of open letter from Marshall to her fans and critics concerning the expectations that have been placed on her as a fragile, hit-or-miss live performer. It would seem too easy to find that meaning, but it appears to be a very valid possibility. The song's narrator excuses the performer's actions, especially for simply not wanting to play to a crowd, as being a justifiable return for the crowd's lofty expectations. It's probably best not to read too much into this.
You Are Free also features the first Cat Power songs to really break out and register above a chilled whisper in years. Coming on the heels of the ultra-quiet The Covers Record, "He War" is easily the most rocking song in the Cat Power catalog since "Cross Bones Style." Somewhat off-kilter and definitely not a traditional rock song, odd piano accents are laid over dual drum and guitar tracks which create an unsettling, original and downright catchy sort of paranoia. This very well may be the best up-tempo song that Chan Marshall has ever written. "Speak For Me" and "Shaking Paper" also provide the album with additional doses of a more traditional rock sound.
There are very few times when the album falters. The album-closing "Evolution" is flat and uninteresting even before the Eddie Vedder backing vocals kick in. "Half of You" is similarly uninspiring, with its delicate sound that makes it seem like a second-rate outtake from The Covers Record. While they are present, these two fumbles are quite minor within the perspective of the entire album.
Overall, You Are Free is an excellent record that further establishes Marshall's ability to create a fine collection of songs. While it's not another Moon Pix, what honestly could live up to that sort of expectation? That album was one of those rare moments when all of the stars align and the results are unmatched. This new album retains the elegance of that prior record while performing an entirely different function and occupying a different niche. Hopefully those who enjoy listening will not be left waiting for years before Chan Marshall graces us again.
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