“When I think about this record, I think about that Bob Dylan song “Sara”. He always wrote cryptic and poetic lyrics, but on the song “Sara,” it’s just plain and to the point. He’s got nothing to hide behind, and you can hear the humanity in his voice – the triumph of living, the loneliness, eagerness, and all that’s in between – not the rational or the stagnant. I feel that this record is just that.” – Shannon Wright You might be tempted to compare Shannon Wright to whatever ingénue’s tearing up the internet at the moment or some other gal with a guitar and something to say. That’s missing the point, though. After four solo records on Quarterstick, as well as her earlier work with Florida’s Crowsdell, Shannon’s been around the block a few times, each time growing stronger and more sincere, and that’s what makes her different. She takes the clarity and artistic sensibility of Lou Reed, mixes them with the subdued simplicity of Erik Satie and the explosive abilities of Jimmy Page, and emerges as her own artist. Shannon’s tried to quit making music before, but it keeps dragging her back, overwhelming her with the sense that, without music, she isn’t herself anymore. It’s visceral. There’s nothing without it. Her music stands on mature legs, well-grounded but resisting exhaustion. Each record has further emancipated her from buzz-worthy tropes and tired musical gimmickry. With each stanza, she seems to get stronger, to become increasingly sure of herself, and of her message. Let in the Light is for grey skies and quiet moments, for furtive emotions and uncompromising catharsis. The songs are coming from a truly honest place.
1. Tall Countryside 2. Trumpets On New Year’s Eve 3. Embers In Your Eyes 4. Honeybee Girls 5. Black Rain 6. Father
7. Sympathy On Challen Avenue 8. Never Arrived 9. Strings On Epileptic Revival 10. Asleep* [The SMITHS Cover]