<\/a><\/p>\n

Michigan native and L.A resident, Anna Ash is holding on, not back. A sincere sorceress of internal voyeurism, Ash\u2019s fragile confidence stands firm ground and shines brightly on her sophomore record Floodlights<\/i> released earlier this week. Slide guitar and dusty, feathered percussion dip and sway against Ash\u2019s strikingly pure and piercing songbird soprano. Floodlights<\/i> is a poignant display of a love run dry and\/or a love gone awry that rolls with the patience of an impending storm on the horizon; lightening without the thunder.<\/p>\n

Is Floodlights<\/i> a country record? Maybe. It tangos with rock n roll attitude on occasion and yanks on some folky heartstrings, too. But beyond genre displacement, the record is a grand achievement in story telling, quietly exposing the deepest layers of epidermis with a tender honesty that doesn\u2019t require categorization, only reflection.<\/p>\n

Recorded in Minnesota, mastered on the West Coast and the reprisal of Ash\u2019s Michigan band (Joe Dart, Julian Allen, and James Cornelison) Floodlights <\/i>creation is as well traveled as the pictorial pastures and valleys the album dares to explore. \u201cPlayer\u201d is finger waving, audacious dose of told-you-so whereas Ash\u2019s Lucinda Williams cover \u201cFruits of my Labor\u201d is a sensual peach bite coated in sultry regret and the track \u201cHold On\u201d is a bouncy series of what-if\u2019s and hypothetical missteps. No ground is left uncovered on Floodlights<\/i> but it isn\u2019t until the title\/closing track that we are forced to our knees after a perilously raw journey through Ash\u2019s beautifully tormented history. Barely exceeding a whisper, Ash compares the shake of an old car to the way her voice warbles when she lies, professing that \u201cIt ain’t gonna kill you to sleep alone once and a while.\u201d A heart wrenching, steering wheel clenching kiss goodbye to us, to them, to who she is or was, \u201cFloodlights\u201d as a singular track and as a collection rattles with a tender brutality that is relatable and malleable, melted and frozen.<\/p>\n

Mostly Midwest<\/a>\u00a0premiered the album this week and is streaming it in it’s entirety now. Check out the playful track “Player” below:<\/p>\n

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