"I feel that there are two sides to me: one is very self-destructive, the other tries to balance the first to keep things in balance". This conflict is at the heart of his fourth album, the eclectic and innovative Anarchist Gospelwhich documents a moment when it seemed that the self-destructive side was about to prevail. "Each one of us is a beast doing our best to be good. That is being human. You are not really good or bad. You're just trying to stay between those two things, and you're probably doing a shitty job. And that's OK, because we're all just monsters."

Extreme emotions can make this battle even more dangerous, but from these experiences Sunny has produced a series of songs that draw on a range of ideas and styles: ecstatic gospel, dusty country blues, reflective folk, sweeping rock and roll, even avant-garde studio experiments (such as the collage of voices that closes Shelter and Storm). Sunny fuses them together in a powerful statement of survival, demonstrating that she is a singer-songwriter who does not indulge in comforting platitudes and a highly innovative guitarist who uses great riffs in every song.

This is the style that Sunny honed for most of her life, at least since she took her first guitar lessons and fell in love with music. "As a child I was obsessed with AC/DC and I loved 80s bands like the Mötley Crüe. I later became obsessed with Bad Brains, Minutemen e X." True to the punk ethos, his first band, the Anus KingsThey made music with whatever they had on hand, namely acoustic guitars. This peculiarity set them apart from other Los Angeles bands of the time, and today Sunny is a rare type of roots artist who at the same time does a cover of the Ween and manages to insert a reference to the Crass in one of his songs (as in Whole). "I don't make music with an audience with traditional roots in mind. I like strange music, outsider music, like Daniel Johnston e Roky Erickson."