ADDITIONAL PRESS:

"It’s rare that a song strikes so perfect a balance between foreboding and sensual, but Thayer Sarrano gets it just right on “Shaky,” the title track from her new album. The tune is a study in contrasts, pitting hard edges against the soft allure of suggestion as Sarrano wraps her whispery drawl around a flat, forceful rhythm while vaporous tendrils of steel guitar float past."

- Paste Magazine

 

"A potent examination of grace and perseverance amidst loss and melancholia." - The Huffington Post 

"The new queen of shoe-gaze" - Americana UK

"there is an aura of “southern gothic” via twangy guitars, deep woodsy echoes and a rhythm like cautiously trudging through those woods...”

- CMJ

"like shoegazing with a twang, but there’s a maximalist epic thing going on, too. It’s rare that a singer is able to balance synthesizers with a slow, Southern vocal palette, and it’s almost like inventing a new language of song. Well, here it is, and it’s gorgeous!”

– FlyPaper

 

"A siren of the cypress swamp, Athens, Georgia’s Thayer Sarrano beckons you into the darkness on the throbbing “Touch My Face.” Evoking the mystical side of Stevie Nicks, overdriven guitars guide the listener through meandering paths that follow Sarrano’s smoky coos to what one can only hope is a

mystical communion." - Bucketful of Nails

 

"Thayer Sarrano is a force to be reckoned with in the ever-fertile Athens, Georgia scene, having worked as a touring and session musician with Cracker, Camper Van Beethoven, T. Hardy Morris, of Montreal, Dave Marr, Kuroma, and David Barbe, among numerous others. This haunting track is taken from her upcoming third album, Shaky, a tour de force of Gothic Americana...We love it." - Big Takeover

 

“Pitting a murky, ominous, lumbering arrangement against her ethereal voice, with its consciously mysterious dearth of affect, Sarrano crafts a sound that is hauntingly eerie. Bringing this palette to a canvas that includes country, psych, Southern Gothic, even industrial, it’s easy to imagine her scoring True Detective‘s first season.”

– Elmore Magazine

Sarrano’s dreamy songwriting often gets labelled as psychedelic, but her poeticisms are so spiritually minded that transcendental might be a better descriptor...Sarrano responds with the utmost reverence, imbuing an ancient spirit of devotion upon the listener." -Immersive Atlanta

"Top 10 Albums of 2015" - Flagpole Magazine  "The album’s 10 tracks had a cavernous quality that made the slightest instrumentation, from a ghostly organ chord to the towering slide of a pedal steel, stretch and fill every corner. Still, Sarrano left her songs space to breathe; her messages of heartbreak, uncertainty and panic were conveyed with a deceptive measure of serenity, proving how truly singular her voice is"

"Thayer Sarrano Injects a bit of Southern spirit into a dark and atmospheric kind of hypnotic rock ‘n’ roll...hovers and moves like a storm cloud—a somewhat muted sound of doom. " --Magnet Magazine

With uncanny confidence, she leads us through her wild landscape, punctuating each vista with her own personal truths, which stand out in sharp relief to a world filled with confusion. As we walk through the dusty streets of her mind, we are likely to catch distorted glimpses of Chelsea Wolfe, Feist, and PJ Harvey in the folds of her dark, psychedelic Americana...she seems to grasp something indeterminable but solid

--Immersive Atlanta Magazine

"Thayer Sarrano embodies an authenticity and knack for raw portrayals of emotion that have undoubtedley made her an early favorite of ours. Like an echo in a dark cathedral, Sarrano’s breathy murmurs are as gutting as they are isolated and exposed. Mingling the underlying, desperate pleas for salvation with that of a steadfast faith, Sarrano adopts the near rapturous conflict of the soul as her own with every aching cry. Backed by the ethereal choir that surges around her and propelling her euphonious praises higher and higher, there’s an ecstasy Sarrano embellishes her finale with; one that doesn’t exist despite the existence of things like doubt, fear, and hopelessness, but rather because of her overcoming of them. And it’s in that personal transcendence that Sarrano has nailed a Cohen cover." -- Grimy Goods 



"Listening to Thayer Sarrano’s Lift Your Eyes To The Hills is like coming across a dark-colored-but-funky-nonetheless sweater in a second-hand clothing shop, trying it on, and finding that it’s been waiting for you to come along. Her music is already worn in all the right places and feels familiar. And it’s not so much dark as it serious – serious, yet soft at the same time. Lift Your Eyes To The Hills doesn’t challenge – it nestles. Whereas Sarrano’s 2009 debut King was sparse and vapory at times, the world offered up in the grooves of Lift Your Eyes To The Hills is made of layers of shifting sound strata: guitars both bone dry and dripping with shimmery reverb; drums that range from barely-there (“The Bend”) to full-fledged roll and tumble (“Gates”); thick, viscous organ (“They Are All Used To Your Beauty”); fathoms of synthed strings (“Echo Believer, Linger Linger”). And even when the instrumentation is down to the bare minimum – the starkly-strummed guitar on “I Miss My Lord” – Sarrano’s multi-tracked vocals (everything from unison near-croaks to lovely harmony parts) make for great depth in the arrangement.

Her songs are – what? Psychedelic folk? Sometimes: it’s not hard to imagine “Hand Held To Your Mouth” or “Quiet Now Your Bones” being rearranged by Big Brother’s Sam Andrew and James Hurley. There’s also Wilco-ish moodiness (“Witness” or “The Bend”) and moments that wouldn’t have been out of place on ol’ Neil’s Le Noise (Serrano’s vocal is tucked just out of reach behind the massive organ wheeze of “They Are All used To Your Beauty”).

​All in all, it’s an impressive album from a young musician with talent beyond her years. And just like that sweater, Thayer Sarrano sounds comfy as hell with who she is"

-Brian Robbins, jambands.com



"Hear ye, hear ye. All of those Mazzy Star and Hope Sandoval fans who've given up on ever hearing from your dearest muse ever again. I present to you Thayer Sarrano. Ok, maybe it's not fair to clump her in with Ms. Sandoval so easily, but it's a great starting point. Aside from the vocals and their affectation, there is actually more here than a first listen allows. I think this might be one of those rare cases where Mazzy Star fans can join hands with fans of Portishead, Muse, and perhaps more rocking witch house acts"

-Brandon Eugene Miller blog



​"Thayer Sarrano is a beguiling Athens-based singer who casts an exquisite spell with her spare, ghostly songs that haunt the ears from a distance. Subtle, southern, lonesome and eerie, she clearly knows her way around heavy, drowsy reverb, bringing forth obvious comparisons to Mazzy Star and Chan Marshall. After spending most of her time as a supporting player with numerous Athens outfits, she's definitely gotten my attention…"

- Jeff Clark, Stomp and Stammer, Atlanta, GA



"For days of quiet misery, when the world is distant and cold, 'King' is the album that will fit right in. Thayer Sarrano's soft, heartfelt and echoey vocals will evoke the finest of shoe-gazing memories for Hope Sandoval fans; she also has an edge of trouble and pain that is reminiscent of Mary Margaret O'Hara... Folky magic."

- Lynne Pettinger, Americana UK



"King recalls nothing so much as Matthew Houck's work, measured, winding, pretty, moaning songs full of soft, Gothic touches that are undeniably Southern"​
- Hilary Brown, Flagpole Magazine

​
"Cat Power's earlier, sparser, sadder tunes come to mind, but there's also something in the way Sarrano takes her time that conjures the slower moments of '60s singers - somewhere between Nancy Sinatra and Karen Dalton, curiously. A little seductive, and not a little mysterious"​
- Chris Hassiotis, Flagpole Magazine

​“[translation from Dutch] Whoever was disappointed in Hope Sandoval's recent solo album, is perhaps more to his liking in the CD "King" from Athens, Georgia-based Thayer Sarrano. Folkier root and ornamental, with beautiful pedal steel, Sarrano picks up the ball on that Mazzy Star almost fifteen years ago, miss. Its compelling noir-like vocals put Sarrano clearly from the same source as Sandoval, though she has not a trick degenerating and combines them to hypothermia emotional voice to a team dreamy, shimmering indie (folk) songs, including Jump In The Water, Without Warning and the title track are the best.”​
-Eric van Domburg Scipio, HEAVEN-popmagazine voor volwassen​

 

BACKGROUND AND COLLABORATIONS:

Sarrano spent her first years in a monastic seminary, then grew up in the coastal/swampland of South

Georgia. She is a classically trained pianist as well as a pedal steel, guitar player, oboist, and percussionist, and has been composing instrumental since she was a child. She merged into a songwriter when she attended art school in the vibrant musical community of Athens, GA and began to collaborate with friends to form her band, as well as establish herself as a studio/touring session player (of Montreal, Cracker and Camper Van Beethoven, Dead Confederate, T. Hardy Morris, Dave Marr, David Barbe and the Quickhooks, Kuroma, more...) and composer. Since 2009, Sarrano has released 3 LPs and toured heavily, headlining tours in the US and Europe, as well as supporting Drive-By Truckers, Television, Robyn Hitchcock, Camper Van Beethoven, Cracker, Nicole Atkins, The Whigs, Orenda Fink, and Patterson Hood. She has been a featured guest vocalist of Big Star’s third (Big Star, R.E.M., the Posies, Mitch Easter, DBs, Wilco) and shared songwriter in the round spots with Patterson Hood (DBTs) , Mike Mills (R.E.M.) , Dave Marr (Star-Room Boys) and others. Her songs have been featured on network television, in Groninger Museum (Netherlands), and she won the Flagpole Music Award for "Music video of the year.” She currently resides in Los Angeles, Athens, GA, and Nashville, TN, and tours the US and Europe as she releases a new 7 inch, Live EP, and art book (Fall 2018) and LP (early 2019).