apartment, and posed under fake silk magnolias Ethridge had brought from a trip to Georgia. As Marshall later recalled, "I remember being so happy to be with [Ethridge]. That connection with Atlanta, and he was sweet and funny. I remember feeling safe. He took one picture and I almost blacked out. Not black, though, nothing but light. I had some mystical experiences around this time. I lay down in the floor and couldn't see. We looked at the pictures and that was it. That was the cover." Release No singles were released for Moon Pix, although a music video directed by Brett Vapnek was released for "Cross Bones Style." As of 2003, the album has sold 63,000 copies in the United States alone, according to Nielsen SoundScan. Reception Reviewing the album for NME, Stuart Bailey wrote that "Cat Power... walks a dazzling line between Sonic Youth and Hank Williams, and that on Moon Pix, "she sounds like the oldest person alive; copping lines from the hymn ‘Amazing Grace’ on the ferocious ‘Metal Heart’ or getting in character for ‘Moonshiner’, a tune that she learnt off a Dylan bootleg and that's imbued with the lonesome spirit of Will Oldham. Robert Christgau of The Village Voice gave it a rating of "C+," calling Marshall "an honest heroine of the new indie staple" which was based on "slow sadness about one's inability to relate." Also writing for The Village Voice, Jane Dark wrote that Moon Pix was "supposed to mesmerize and haunt. But if you stare too long it can start to seem vacant." Pitchfork's Ryan Schreiber gave the album a rating of 7.4, and wrote that it "spins through 11 tracks of soft strumming and brittle vocals, all while you rest your head on your pillow, watching a muted black-and-white television, and drifting in and out of consciousness. Not that Moon Pix makes great sleeping music. Quite the contrary, actually-- it's way too interesting." Gail O'Hara of Time Out New York described Moon Pix as "the record Marshall's admirers knew she had in her," and wrote that "what makes this album so dazzling is the focus of Marshall's melancholic songwriting and her gripping vocals that flutter, whisper and even howl." Jonathan Trew of The List wrote that "Marshall's voice seems to come from some other dimension, it hangs and it haunts, inhabiting an oft sparse terrain of faintly country-ish hue," and declared