Even her most joyous album, 2006’s The Greatest, seemed to amount to stylized pain with the doomed singer as a medium, a conduit harmed by that which she was divining. Which pushes Sun away from the rest of her discography ( Moon Pix, for example), in that Marshall now sounds engaged with the pain of the world, no longer a mere interpreter of her own misery. You’d think a polemic dispatch from the thick of a Koch Brothers-fuelled culture war might push one to new depths of emotional dispossession, but lo! Marshall instead loses some of her famous ethereal malaise and conjures vampy disdain instead.
Chan Marshall insists that her ninth album isn’t political, but in America in 2012, what’s more politicized than the right to live as you please? Sun is hardly sloganeering, but its Power to the People ruminations are more potent and topical than you’d expect from a pop record - and certainly one made by Cat Power.
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