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PopMatters continues The Wans critical acclaim, premiering the track “Black Pony” and saying they have “all of the gusto and overdrive power of great classic rock.”

The Wans press photo

The driving, garage-rock inspired “Black Pony” by the Nashville-based the Wans is available to stream exclusively on PopMatters.

Later this year, Nashville-based rock outfit the Wans are set to release their new LP, He Said, She Said. Lead singer and guitarist Simon Kerr says of the record, “I’m more proud of this record than anything I’ve done in my life. The songs are all the strongest songs I’ve ever written. The production and sounds are brilliant thanks to our producer, Dave Cobb, and our engineer, John Netti. I can’t forget Vance Powell who mixed it and Ed Spear who was assistant mix engineer. I’ve got pretty high expectation’s for this record and I’m so excited for people to hear it.” LISTEN HERE…

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Consequence of Sound calls The Wans’ new single “grimy and hard-hitting”

The Wans Simon Kerr-Vocals/Guitar Mark Petaccia-Vocals/Drums Thomas Bragg-Vocals/Bass He Said, She Said Consequence of Sound so cruel

Nashville rockers The Wans have only been a band for two years, but have already built up quite a reputation for their grimy and hard-hitting selves. Already they’ve shared bills with the likes of Pearl Jam, Beck, and the Black Lips, and their music has been featured on ABC’s Nashville as well as A&E’s Longmire. 

Now the band is ready to take the next big leap with their first full-length record, He Said, She Said, being self-released on September 9th. The band recorded the 10-track album completely to analog in the span of a week alongside producer Dave Cobb (Jason Isbell, Waylon Jennings). For a taste of what’s to come, the band has unveiled He Said’s lead single, “So Cruel”. LISTEN HERE…

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Head over to American Songwriter Magazine and check out “Don’t Give Me Hell,” from Sara Rachele’s forthcoming album, Diamond Street (out Sept. 2). Featuring guest harmony vocals from J Thomas Hall

Sara Rachele press photo Diamond Street baby robot media American Songwriter Don’t Give Me Hell from Diamond Street J Thomas Hall

The Artist: Sara Rachele with J Thomas Hall
The Song: “Don’t Give Me Hell” from Diamond Street, out September 2
Fun Fact: Originally from Decatur, GA, Rachele spent her teenage years as a keyboardist and background singer in The Love Willows before relocating to New York.
Songwriter Says:  “When you end up in a relationship, there are those places you go together. We all have them—whether it’s a favorite coffeeshop, dive bar, book store, record shop, whatever. You develop these strong associations between that person in your life and that particular place. Of course, when things end, it can be difficult to go back—to the point where, sometimes, you feel compelled to give that  place up. My new album Diamond Street is a collection of all those places and shared moments—both precious and dirty—that we revisit in our minds. LISTEN HERE…

Sara Rachele

Sara Rachele
Photo Courtesy of Sara Rachele
Website – Facebook – Twitter – Instagram

“From the moment I heard Sara Rachele’s voice and words I knew I was in the presence of truth. She is a fearless artist with a desire to lyrically explore the nuances of her experiences in, around and against life.” – Melissa Ferrick 

“Sara is a young songbird with an old soul. Her well-crafted gems echo troubadours from the past and reflect a view inside her world. Blessed with a beautifully haunting tone, her melodies leave you wanting more and more. Diamond Street is a serious debut album from a serious songwriter on the rise.” – Reed Waddle (winner Telluride Songwriting Contest, Mountain Stage New Song Competition, & Grand Prize New York Songwriters Circle) 
 
“She enlisted a superb set of musicians with producer Kristofer Sampson. Her songs are saturated with deep & dramatic lyrics and melodies. It was a great surprise to find out a few weeks later that she had named her album after my studio.’ – Spencer Garn, Diamond Street Studios, Atlanta, GA.
 
“When sound hits tape you get something back that you know is true and honest, listening to Diamond Street there is an undeniable realness and truth in these songs” – Ben Talmi, Art Decade 
Bio
Recorded in her hometown of Atlanta, the NYC-based Sara Rachele’s debut, Diamond Street (out on Angrygal Records), rides out slow and dark as a jet-black 1960s Chrysler New Yorker. The live-to-tape LP—produced by Kristofer Sampson (B-52s, Balkans, Coathangers)—was recorded in just two days, and captures the East Village nightlife of a young songwriter in a timeless, vibrant rock ’n’ roll statement. Diamond Street‘s sparkling lo-fi charms span the decades, Rachele channeling everything from classic Fleetwood Mac and Petty’s Heartbreakers to Lucinda Williams and David Lynch muse Julee Cruise.
 
On recording with producer Sampson (who plays in New West Records band Ponderosa), Rachele says, “Kris really challenged me on this album. Even though we were working quickly, he had patience with the songs, and   he took the sound to a new place for me without it seeming disingenuous.”
 
The daughter of a baby-boomer painter and Italian/Slovak immigrant, Rachele (pronounced ra-kelly) grew up a studio rat and folk child. Working for free cleaning out the cupboards at famed Atlanta acoustic hotspot Eddie’s Attic, she met countless musicians and writers and fell into bands as a side-player before she even knew how to write a song. While still a teenager, she became a backing vocalist and keyboard player for The Love Willows, who promptly signed to Decca/Universal, writing and recording with producer Mike Daly (Whiskeytown, Lana Del Ray, Grace Potter).
 
Eventually, though, Rachele decided to leave behind The Love Willows’ bubblegum pop sound, moved to Boston and enrolled for a time at Berklee College of Music, before dropping out to live in her newly adopted home of New York City. Inspired by its long history of seedy bohemian songwriters and poets, and by the energy of the city itself, Rachele filled up journals with her ramblings and penned ballad after ballad as she roamed the coffeehouses & nightclubs of the East Village, trading innocence for experience. Word spread quickly about her passionate delivery, her honest, unadorned lyrics, and her uniquely Southern sound. Along with sidekick and fellow Atlanta expat Charlotte Kemp Muhl (with Sean Lennon, half of Ghost of the Saber Tooth Tiger), Rachele found a home—musical and otherwise—in New York.
 
“For such a big city, New York can be a pretty small town,” Rachele says. “I saw an ex across Houston Street once—he was playing a show I think, everyone always is, you lose track. But I remember running across four lanes of traffic—just seeing him, turning, and running through the East Village. No one ever leaves you in New York. You still have to learn how to know them. It’s the continuousness of it all—nothing every really ends. And the cabbies just know to get out of the way… ’cause at any moment some heartbroken woman might run out into the street.”
 
While in New York, she befriended veteran music photographer Perry Julien, who was intrigued by Rachele and shot portraits of her at The Chelsea Hotel, that sacred place of rock lore. Her session with Julien was one of the haunt’s final photo shoots before it closed its doors to guests. Rachele’s images from The Chelsea Hotel—once home to Dylan Thomas, Bob Dylan, Patti Smith & The Sex Pistols—have been featured in SXSE photo mag, Creative Loafing, and art galleries up and down the East Coast. She and Julien’s collaborations were also published in Julien’s book Secrets (2013), and forthcoming Chelsea Hotel photo book Guests. Rachele is a photographer herself, her work having appeared in Pitchfork, Brooklyn Vegan, Creative Loafing, and Stereogum.
 
In addition to producer Sampson, Rachele’s new debut Diamond Street features the musical contributions of budding folk hound J. Thomas Hall (New West imprint Normaltown Records) as well as a cast of Atlanta-based heavy hitters including Lightnin’ Ray Jackson (Washed Out, Gringo Star), Spencer Pope (Ocha La Rocha), Spencer Garn (Ruby Velle & the Soulphonics) and Snowden’s Chandler Rentz. Diamond Street represents the gorgeous clash of Rachele’s folk-centric upbringing and her beat rock & roll adventures in New York City. With five years of stories under her belt, she has created a moody musical pulp, resounding with smoky memories of ambling city nights.
 
“I think the strangeness of my work is what makes people get it,” Rachele says. “We all have these stories, but where I grew up, we were always throwing furniture around the house, emotionally. Like a lot of people, I got intensified in New York, so I just started writing—to keep sane.”

Her latest output is a new 7-inch. “Change Your Mind (You Should Be Mine)” is Rachele’s exposition of long-distance love, a journey through her day in conversation with a distant someone, imploring them to turn back the clock. The song meanders around from Rachele’s hometown of Atlanta, GA and then to New York City’s East Village, asking us all, what happens if we alter fate, switch paths, as she laments moving on with her signature coo. While a wistful track, the record, produced by Spencer Garn (The Soulphonics) itself evolves into a more throwback sensibility, ala Dusty Springfield if Dusty were from the south.

Another song about walking pensively through the streets of the city — Rachele follows the A-Side with an acoustic, live-in-studio rendition of Cracker’s 1993 hit, “Low,” recorded in East Nashville, TN with Johnny Duke (Little Big Town, Lee Ann Womack, Mary Chapin Carpenter.) Both tracks mixed by bandmate and confidant Kristofer Sampson (B-52s, The Coathangers, Balkans) creating a familiar sound with a little bit of an evolved Appalachian twang.
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To set up an interview with Sara Rachele, or get your hands on press passes, advance music, hi-res photos, album art or videos, contact Rachel Hurley.

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Verbicide Magazine digs Pillage & Plunder’s “unique mix of indie, prog, and jazz-punk”

Pillage & Plunder and Gokul Parasuram Hsiang-Ming Wen Noah Kess the show must go wrong baby robot media Verbicide magazine how did it come to this premiere

Atlanta-based Pillage & Plunder are self-proclaimed “art rockers” who play a unique mix of indie, prog, and jazz-punk. The trio will release their debut full-length The Show Must Go Wrong on August 5, 2014. They previously released their debut single in 2009, and their first EP, Look Inside for the Prize, in 2011. In 2013, they dropped Goodnight Jack, an acoustic EP.

Below, you can stream the premiere of their track “How Did It Come to This?” They are preparing for a big late-summer tour to coincide with the album release. LISTEN HERE…

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The House Harkonnen talks about being metal in Texas on Dallas’ KETR show Notably Texan

House Harkonnen Do For It Records Alex James David Shafer Doty Andy ketr notably texas

Riding rock n’ roll like a “Sandworm,” Arlington’s The House Harkonnen turn the notion of traditional Texas music on its head.

Taking their name from a faction in Frank Herbert’s fictional “Dune” universe, The House Harkonnen embodies elements from punk to classic rock, and reconstitutes them into a gritty rocking sound of their own. Vocalist Alex Johnson recently took some time to check in with Notably Texan, on the verge of their appearance in Dallas on Friday.  LISTEN HERE…