Star Anna is at it again. September 24th will mark the release of her fourth studio album, Go to Hell. Yes, the album’s title might seem a bit abrasive but it’s only because it is a bit abrasive and appropriately so. It’s reflective of the mood, process and events that surrounded the record’s production. Anna admits that “There were a lot of battles going on at the time this record was being made and a lot of betrayals that I was dealing with that had been woven into my personal life as well as the life of this record.” Without knowing the details (or needing to), the story tells itself in this cathartic record.
This album is a defined change from her previous work. Most notably, it’s her first to not feature her previous backing band The Laughing Dogs. The change has allowed Star Anna to expose herself more as the primary musician; above all, Go to Hell showcases Anna’s voice and lyrics. While the underlying anger that created this album are constant, songs like “A Mean Kind of Love” remind us that Anna is capable of writing more delicate ballad-type tracks without succumbing to love songs.
Here’s an advance peek at the first cut on the album – “For Anyone”
Listening to Go to Hell, it’s hard not to focus on her voice. It radiates of a self-clarifying and overcome anger. It’s powerful and direct and demands your immediate attention. If you’re able to divert your ears for a second, though, you’ll hear the unquestionable talent of Ty Baillie, Jeff Fielder, Julian McDonough, Jacques Willis and Will Moore – reoccurring names in Seattle music. Stacked with such a cast, Go to Hell has all the makings of an immediate classic in the alternative country market.
There’s a certain level of confidence (bordering on arrogance) that’s required for an artist to put a cover of very, very esteemed musicians on an album. Like him or not, Tom Waits is a very, very esteemed musician so for Anna to cover “Come On Up To the House” on Go to Hell is a pretty bold move. Adding her own edge, Anna’s version isn’t a replication of the original but an interpretation that fits pretty well into the album. Instead of that pirate-driving-his-ship-into-hell sound that Waits brings to all of his tunes, Anna’s version is like a rugged deluge of unabashed emotion. Actually, this entire album is a bit like that.
