Vein

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Soft Kill

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Higher Power

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Modern Color

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Monsters of Mock

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Featuring music of The Cars Heart and Bad Company

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Radkey

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It wouldn’t be hard to make the argument that rock and roll in its purest form is pretty much a teenage fantasy writ large. Like a blacklight poster sprung to life, the lure of picking up a guitar that will transform your adolescent bedroom into an arena filled with screaming fans and pot smoke is the myth that keeps rock and roll forever young, and it’s a kind of dream narrative that has keeps getting re-told, whether it’s The Byrds’ “So You Want To Be A Rock-N-Roll Star” or about half the tracks on Weezer’s blue album, the burning adolescent desire to nothing less than fucking rock is the very thing that makes rock music a constantly renewable resource—and it’s also what makes Radkey—a trio of power riffing brothers—such a classic kind of rock and roll phenomenon.

Formed in the quiet enclaves of St. Joseph Missouri, the trio of 20 year-old Isaiah Radke (bass), 18 year-old Solomon Radke (drums), and 22 year-old Dee Radke (vocals/guitar) began making music together in 2010. Fueled by a steady diet of Nevermind and small town boredom, Radkey’s music quickly went from a bedroom hobby into a full-time pursuit. The band opened for Fishbone in 2011 – less than a year after first playing together – and eventually headed out on the road to play shows with the likes of Red Fang, Against Me, and Touche Amore. Given that the band members were homeschooled (and thanks to their incredibly supportive parents), the idea of jumping in the family van and hitting the road gradually morphed from a kind of surreal fantasy into a much-celebrated reality. In 2013 the band unleashed two EPs (Cat And Mouse and Devil Fruit) and knocked out tons of big-ticket live appearances (including Riot Fest, Download, and, in 2015, Coachella and Japan’s Punksping) in addition to taping a memorable spot for Later with Jools Holland. Though early press on the band often focused on their unconventional backstory—a rock band comprised of three homeschooled African-American teenagers from Missouri—the band’s backstory was always eclipsed by their incendiary live sets: balls-to-the-wall garage punk that is messy, explosive, and crazy loud.

“The last couple of years have been really crazy,” says Isaiah, the group’s most outspoken member. “Traveling in England in Europe was really cool for us. It’s incredible—and such a weird feeling—that you are doing something that is actually important to people. To travel to other countries and see people singing along with us is just…it’s really strange. I never thought our music would become a thing that could take us to all of these places.”

After nearly five years of playing and touring together as a band, all of the Radkey’s hard work comes full circle on Dark Black Makeup—the band’s full-length debut. Recorded primarily in the UK alongside producer Ross Orton (Arctic Monkeys, The Fall, Jarvis Cocker), the album is a blistering punk opus—13 tracks that show off the band’s knack for combining stadium-sized riffs with surprising pop sensibilities. Tracks like “Love Spills” and “Evil Doer” rank among some of the best—and hookiest—songs the band has ever written, while tracks like “Le Song” and the album’s title track show just what an unstoppable live juggernaut the band has become. The songs are both tightly wound and explosively huge-sounding “We wanted to show people that you can still make a proper rock record,” explains Isaiah, “Something that is both super catchy and super heavy. We want people to hear it and think Fuck Yeah! Mostly we just try and only write songs that we love—that we love the shit out of—and that way it never gets boring and it never feels like a drag to play them live even if we’ve been playing them for years. It seems like a simple thing, but we really just want to make the music that we want to hear.”

Dark Black Makeup tackles more than a few teenage tropes—boredom, anger, girl problems, broken friendships—but does so in a way that is not only clever, but also refreshingly honest. No where is this more evident than on the record’s title track, which itself is a kind of high-decibel wake up call for young people to take ownership of their own lives: a sort of punch in the face for teen angst that is made all the more visceral coming from three musicians just barely out of their own teen years. “That song is about how much of your teenage years can just be such a waste,” says Isaiah, “If you spend all of your time not caring about anything just because you think you’re not supposed to then you’re probably leading such a boring life. You could be partying or making something, as opposed to just spending all your time worrying about what other people think. It’s like, wake up. Hang out. Do something. It’s annoying that you can’t necessarily change the fucking world at that age, but you can make your own situation better. Stop wasting time”

Five years in and the brothers Radkey are happy to be making a musical statement that will hopefully put to rest a few of the preconceptions that have followed them throughout their career thus far—namely those based around their age, their hometown, and race. “Surprisingly that—the racial thing—hasn’t been a factor for us,” says Dee. “Honestly, it’s never been about that. Mostly we get given a hard time about our age, but that’s also something we can’t really change. We might walk into a venue and feel like people are taken a little bit by surprise when they see us, but usually after we play all of that stuff kind of goes away. We get a lot of questions about being brothers—like, do we argue?—and it’s a good question I guess, but the answer is no, we don’t really argue very much. And yes, we all write the songs together—everyone writes—so it’s not a thing we really spend too much time thinking or talking about it.”

The ambition of Dark Black Makeup is evidenced by the heightened songwriting and broadened sonic palette, but the energy behind the music remains the same—visceral, urgent, and raw. It is the sound of three people doing what they love…loudly. “Our only ambitions have ever really been to make a record that people will love and to be able to play as many shows as we can,” says Isaiah, “It’s also a personal journey. We’ve been living this for years now. This is literally all that we do and the record is the evidence of that. I stop and think, man I’m 20 years old and I’ve been doing this since I was basically 14. We’re still making the same kind of music we were when we started, but we’re better at it now. Thankfully, we’ve had the opportunity to actually go out into the world and experience some real shit, which gives us something to write about now. We just want people to listen. And play it really loud.”

OUR LINKS

• Radkey Homepage
• On Facebook
• On SoundCloud
• On Twitter

with special guests:

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Wick & the Tricks

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The Many Colored Death

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The Many Colored Death is a hard rock trio based out of Columbia, Missouri. With influences ranging from Sabbath and King's X to Muse and RATM, they've forged a sound uniquely theirs, while not wholly unfamiliar. Described by one fan as "a silky mixture of 70's rock and early 90's grunge", The MCD are driven by a desire to make real, honest rock music for real rock music fans. Featuring a thundering rhythm section that would make Bonham and John Paul Jones proud, and a guitarist/vocalist who is equal parts Robin Trower, King Buzzo, and David Gilmour, their brand of rock is both quiet and loud, dark and light. A veritable yin yang of sound and emotion. Soulful lyrics and melodies float effortlessly over the pounding surf of complex polyrhythms and groove laden riffs.

To paraphrase Jimi Hendrix, we don't play loud so you can hear the music.

We play loud so you can feel it.

OUR LINKS

• On Facebook
• On Youtube
• On Twitter
• On MySpace

The Sluts

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The Sluts are a two-piece garage rock/punk/grunge act from Lawrence Fucking Kansas.

OUR LINKS

• The Sluts Homepage
• On Facebook

The Melvins

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The Melvins return with the new album Pinkus Abortion
Technician (April 20, Ipecac Recordings), featuring both ongoing Melvins’ bass player Steven
McDonald (Redd Kross, OFF!) and Butthole Surfers’, and occasional Melvins’, bottom ender Jeff
Pinkus on bass.

“With our upcoming release, we double your bass player with Steven McDonald AND Jeff
Pinkus holding down the bottom,” explains Dale Crover. It’s an experiment in the low end of the
aural spectrum where we asked ourselves, ‘would it work?’ ‘could it work??’ ‘should it work???’
The answers were yes, yes and YES!”

“We’ve never had two bass players. We’ve had two drummers and two guitar players so it
makes total sense to now have two bass players, adds Buzz Osborne. “We’ll be taking this two-
prong bass attack on the road as well which should prove to be interesting. Pinkus Abortion
Technician is a radically great record and was a stone groove to record. We drank a lot of coffee and enjoyed each other’s company. I like Steven and Jeff a great deal. I admire their bass playing and singing and both of them can grill a mean steak.”

Pinkus Abortion Technician tracklist:
1. Stop Moving To Florida
2. Embrace The Rub
3. Don’t Forget To Breathe
4. Flamboyant Duck
5. Break Bread
6. I Want To Hold Your Hand
7. Prenup Butter
8. Graveyard

“Stop Moving To Florida” is a medley of the James Gang’s “Stop” and Butthole Surfers’ “Moving
To Florida,” the band also covers the Beatles’ “I Want To Hold Your Hand” and Butthole Surfers’
“Graveyard” on the eight-song release. Pre-orders will be announced soon.

The Melvins have also simultaneously announced a 10-week North American tour, kicking off
on April 26 at the Casbah in San Diego. The tour will feature the Melvins as a four-piece with
both Pinkus and McDonald joining Osborne and Crover.

OUR LINKS

• The Melvins Homepage
• On Facebook
• On Youtube
• On Spotify (Will launch Spotify Application)
• On Twitter
• On MySpace

Horse Jumper of Love

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Slow Mass

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Youth Pool

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Counterculture

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Supersuckers

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You’ve heard our name, you’ve seen our records, our t-shirts and our stickers. We’re probably the favorite band of someone you know and yet we’re still a mystery to you. Well my friend, that’s okay, I’m here to fill you in and help you to get to know the greatest rock-n-roll band in the world, The Supersuckers.

Our story is almost impossible to believe. This band is literally a human cartoon. We all grew up among the dead-ends and cactus needles of Tucson, Arizona and have known each other since grade school. We graduated from the same high school together at the same time (a school immortalized in our song “Santa Rita High”) and we chose to play in a band together because we liked to hang out together, not because we were great musicians or anything. I truly believe that a band is defined by their limitations, that what they can’t (or won’t) do is just as important as what they can do. I guess that, in this era of pre-fabricated, put-together-to-have-a-hit bands, we’re kind of an aberration and I gotta tell ya that that makes us smile a little every day.

We formed the band in 1988 and we were initially a five piece called The Black Supersuckers ( a name found in some quality “adult literature” we had laying around in our impeccably clean band house!), with me on bass, Dan “Thunder” Bolton and Rontrose Heathman on guitars, Dancing Eagle on drums and a lead singer by the name of Eric Martin. After firmly proving ourselves to be the best band in town we decided it was time to get out of Tucson and try our luck somewhere else. So we tossed a coin with heads as New Orleans and tails as Seattle. Tails it was and in May of “89 we packed up and went north.

We had no idea that Seattle was about to become “Rock Mecca USA”, we just wanted to go somewhere where we could wear our leather jackets a little more often. It was exciting and encouraging to see all of the great bands there, doing their own thing and making some kick-ass, aggressive rock-n-roll that we could relate to, so we started recording immediately. After some classic “creative differences” with our lead singer, we decided to try it as a four piece with yours truly as the singer (I was the only one who knew all the words) and The Supersuckers, as you may or may not know them today, were born.

Our first recordings as a four-piece wound up on various singles for small labels and then were compiled for a C.D. called The Songs All Sound The Same. (For the full story on these recordings I highly recommend picking up the re-issued version on our own label, Mid-Fi Recordings). But it was our live shows that caught the eyes of the good people at Sub-Pop Records and, after a particularly scorching show one night, they offered to put out our records. We said ,“Buy us some beer and you got a deal!” And our long and enduring rock-n-roll ride was officially under way.

Starting with 1992,s “The Smoke Of Hell”, we released a total of three rock records, one country record, split singles with Steve Earle and The Rev. Horton Heat, countless singles and a “best-of” double album (all on Sub-Pop,) then we put out what is considered to be our finest recorded moment to date “The Evil Powers Of Rock-n-Roll”(Koch/Aces & Eights) in late 1999. We’ve also been touring our asses off all over the world with bands like Mudhoney, Social Distortion, Bad Religion, The Ramones, Motorhead, The Toadies, The Butthole Surfers, The Reverend Horton Heat, The Dwarves and White Zombie. We’ve played a couple of Farm Aid shows and backed Willie Nelson on The Tonight Show. Our music has appeared in T.V. shows (Beverly Hills 90210), Movies (Baseketball, Hype) and commercials (Mountain Dew) as well as countless snow and skateboarding video compilations.

Throughout this entire time, our sole mission has been to create and perform timeless, quality music and get as many people as possible to hear it. That goal has never changed. The pursuit of that perfectly imperfect rock-n-roll moment is all we’ve ever been after. We’ve been doing this for well over a decade now and we’re just getting started.

2001 found us starting our own label; Mid-Fi Recordings. We’ve finally decided to take control of all of our affairs and have become a lean, mean, self managed, totally independent rock-n-roll machine. We’ve got the greatest fans in the world and no one cares more about them and our music than we do. Having our own label gives us the freedom to make more of our music available to them without the hassles of “the middle-man” worrying about things like “marketing” or “demographics”. Hell, these are just hard words. All we want to do is get some kick-ass music out to the people and with Mid-Fi we have been able to do just that. Our first release was a live country record entitled “Must’ve Been Live”, that came out in March, 2002. Since then, we have dug into our “private reserves” and released several singles of some our finest outtake stock (a habit we intend to keep). We’re also planning some split singles with other great artists, the first one being “Never Go Home” by The Hangmen b/w “Flyin’ Into The Mid-Day Sun” by the ‘suckers.

But, by far the most exciting thing we’re doing now is gearing up for the release of our new rock record, Motherfuckers Be Trippin’. It’s the perfect follow up to The Evil Powers Of Rock-N-Roll and will be available to rock your ass on April 22, 2003. We feel better about this record than any we’ve done to date, which is amazing for a band that has been around as long as we have, and we know you’ll dig it as much as we do. It truly seems like we’re just getting the hang of this music making thing!

So, the next time you see The Supersuckers name, whether it’s in the record store or on the marquee at your local nightclub, know that there’s some quality, honest, ass-kicking, hard working individuals in there, trying to make your life a little better through the “Evil Powers Of Rock-n-Roll” (and the occasional detour into the country of course) and we’d love nothing better than to have you there with us. Just remember to wear you clean underwear, because we’re gonna rock your pants right off of you.

Rawkously Yours,
Eddie Spaghetti

Crowning achievements of rock-n-roll glory
•Performed on “The Tonight Show with Jay Leno” backing Willie Nelson
•Played Woodstock 2000
•Played Reading/Leeds festivals
•Toured extensively throughout the world including Russia, Japan, Australia, etc...
•Recorded with Eddie Vedder of Pearl Jam, Steve Earle, Willie Nelson, Kelley Deal of The Breeders

OUR LINKS

• Supersuckers Homepage

The Mad Kings

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Tycho

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Poolside

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Reverend Horton Heat

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It’s true that the Reverend Horton Heat have been called a great many things over the course of their storied career: Perpetual Carriers Of The Rockabilly Flame, Genre-Shattering Problem Children, Filthy Drunks, and The Most Electrifying Live Act In America (150 shows every year can’t be wrong). But whatever you happen to call them, their country-flavored punkabilly and onstage antics have brought the Reverend Horton Heat a strikingly diverse fan base and a devoted cult following. The Rev himself, aka Jim Heath, leads the way with signature guitar riffs, while pounding out the bottom notes (often on top of) his upright bass is Jimbo Wallace, while Scott Churilla keeps time on the drums.

OUR LINKS

• Reverend Horton Heat Homepage
• On MySpace

Delta Bombers

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Coral Creek

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CORAL CREEK is a nationally acclaimed Colo-Caribbean Newgrazz / Jamband featuring the original music of Chris Thompson and Bill McKay (formerly of Leftover Salmon and Derek Trucks Band). Inspired by the islands and the mountains alike, CORAL CREEK conjures a unique vibe, delivering big sounds and high-energy shows that appeal to audiences across the newgrass, rock and jamband spectrum. Drawing influence from legends like Jerry Garcis, John Coltrane, Tony Rice, Professor Longhair and Dr. John, don’t be surprised when CORAL CREEK launches into a second line jam with tenor saxophone soaring over organ swells and a rolling banjo. Listen close and you might even hear some steel pan and coqie frogs.



CORAL CREEK launched into the heart of the Colorado music scene with the release of The Road Ahead (2010), produced by Bill Nershi of the String Cheese Incident. The addition of Bill McKay on keyboards and Nathan Peoples on saxophone solidified the unmistakable sound that is CORAL CREEK today, as captured on the eponymous sophomore album CORAL CREEK (2015) and FREE DOG (2018) – both produced by Tim Carbone of Railroad Earth. FREE DOG has all the lyrical imagery, tasteful harmonies and outstanding musicianship that you’ve come to expect from Colorado’s hottest up-and-coming Newgrazz act, once again transporting listeners from the heights of the Rockies to the sweet sands of the Caribbean Sea – hitting every honkytonk, bayou and beach bar along the way.



Since forming in 2015, CORAL CREEK has played campgrounds, beach bars, concert halls and festival stages across the US, Europe, UK and the Caribbean, sharing stages with music heroes like Peter Rowan, Sam Bush, Bill Nershi, Tim Carbone, Andy Goessling, Vince Herman, Andy Hall, Roosevelt Collier, Jeff Austin and other heavy hitters in the newgrass / jamband scene.

OUR LINKS

• Coral Creek Homepage
• On Facebook

Soccer Mommy

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Dynohunter

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DYNOHUNTER is truly a breath of fresh air to the world of electronic dance music. With a sound embraced by fans of house and techno and a live performance fueled by the organic energy of live instrumentation, their music is undeniable on the dance floor. DYNOHUNTER's ability to blend deep electronic influences with live saxophone, bass, and drums forges a new path in the vast expanse of electronic music.

Their sound journeys from dark tribal meditations, exotic rhythms, and deep hypnotic grooves to hard hitting dance tracks, uplifting melodies, and soulful improvisations. Equally at home playing underground clubs and festival mainstages, DYNOHUNTER brings a relentless and unmatched energy to each and every set.

OUR LINKS

DJ Luzir

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Brick + Mortar

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Brick + Mortar is a two-piece indie pop outfit from Asbury Park, NJ. The duo consists of Brandon Asraf (guitars/vocals/programming) and John Tacon(drums/programming). Best described as controlled chaos, the band combines choppy rhythms, smooth bass lines, tempestuous drumming and honest lyrics, all of which culminates in something that is just as likely to show up on an indie up-and-comers list as it is to show up on a DJ’s playlist – something that is evidenced in the band’s role as a remix magnet for artists such as Baauer. Brick + Mortar is one of the few bands who can conjure up images of both carousels and cocaine, combining dancy with dark and pop with despair.
Speaking in an article with VICE Magazine, Asraf says of their most recent music video for Bangs, “The story is my chance to be in [my father's] world and tell a conglomerate of a bunch of stories I’ve heard.” The result is a gripping video reflective not only of Asraf’s father’s violent past as an international fugitive, but also of the sometimes ominous and abrasive tone of the new EP.
Coming off of the release of their EP, “BANGS,” Brick + Mortar is touring relentlessly, opening for Imagine Dragons, Icona Pop, and Jimmy Eat World, as well as performing in the summer festival circuit at mainstays including Made in America, Loufest, and Lollapalooza.
In a time where purists patiently await the return of rock and roll, Brick + Mortar is gifted enough to combine exciting elements of each genre with their no-bullshit approach to songwriting.

OUR LINKS

• Brick + Mortar Homepage
• On Facebook
• On Twitter

Dentist

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Goddamn Gallows w/Scott H Biram

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Rings of Saturn

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Enterprise Earth

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Angelmaker

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Brand of Sacrifice

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ZoSo (The Ultimate Led Zeppelin Experience)

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Tauk

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Hippo Campus

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Hippo Campus is four Minnesotan boys making music that is simple, joyful, and thematically soaked with the sense of cynicism accompanying the youthful search of self-meaning.
The band’s debut EP, ‘Bashful Creatures’, is set for release November 18, 2014. Recorded over two days at Pachyderm Studios in Cannon Falls, MN, the EP was produced by Low’s Alan Sparhawk.
With the philosophy that there is beauty among thorns, Hippo Campus presents the world of Bashful Creatures...
Kids, Adults, Youth, Age, Tumblr, and Cigarettes. Boots, Younger brothers. Older brothers, Brothers from other mothers, Summer, Friends, alcohol, drugs, and a touch of Boredom. Heterochromia, Heterosexuals, Teachers, English class Ratchet-ness, Lips, and Dancing in Tank tops. Sneaking out for Friends, Sex, Art, but mostly just art school girls. Playing with Guns, American exceptionalism, “Suicide," Shyness, confidence, and Grace.
With love, Beans, Espo, Stitches, Turntan.

OUR LINKS

• Hippo Campus Homepage
• On Facebook
• On Spotify (Will launch Spotify Application)
• On SoundCloud
• On Twitter

John 5

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with special guest

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Jared James Nichols

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Oliver Francis

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Yak Attack

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Thank You Scientist

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Bent Knee

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Bent Knee is unlike any band you’ve ever heard. Its borderless sound combines myriad influences from across the rock, pop, minimalist, and avant-garde spectrums into a seamless, thrilling whole. Its new album Land Animal—Bent Knee’s first for InsideOutMusic/Sony—takes its sound to a new level. It offers a suite of songs full of addictive hooks, lush melodies and enthralling twists and turns that capture the reality of life in the 21st Century—a reality of people and nations in the midst of tumultuous change. It also communicates a ray of hope and desire for listeners to embrace the fact that they’re not alone in their struggles.

“The silo-smashing Bent Knee’s unique mix is equal parts ingenuity and deliciousness,” said Jim Fusilli of the Wall Street Journal in 2016 when he first heard the group. “Bent Knee breaks new stylistic and temperamental ground,” declared Steve Smith of The Boston Globe. Other media outlets worldwide have reacted with similar enthusiasm, including NPR and the BBC, which have playlisted the band.

Bent Knee formed in 2009 as a democratic collective determined to push the boundaries of pop and rock. Lead singer and keyboardist Courtney Swain’s soaring vocals are instantly arresting. Guitarist Ben Levin is one of the most dynamic and versatile guitarists around, shifting between the raging and raucous to the sublime and meditative. Bassist Jessica Kion and drummer Gavin Wallace-Ailsworth combine into an enthralling rhythm section that’s equal parts powerhouse and nuance. Violinist Chris Baum’s kinetic violin work provides drama, grace and intrigue. World-class producer and live sound designer Vince Welch weaves it all together with a captivating, expert touch.

The band has gone from strength to strength in recent years. Its last two albums, 2016’s Say So and 2014’s Shiny Eyed Babies, were hailed as significant art-rock achievements. The group has performed hundreds of shows across the world to date. During the fall of 2016, the band played for ecstatic audiences as an opener for the U.S. leg of The Dillinger Escape Plan's farewell tour.

With Land Animal, Bent Knee has elevated its storytelling ambitions to create narratives that reflect and refract the currents we’re exposed to in the news every day.

“We’re at this bizarre point in history when our species can almost actively play God,” explained Baum, when discussing the themes running through the album. “We’re getting closer and closer through communication and technology. On the flip side, we still have many primal urges that have yet to evolve. There’s a strange balance between our technology and our biology that’s tremendously difficult to find. Land Animal explores where those animalistic urges come from and how we can harness and transform them to create a better reality.”

“The album has all kinds of songs about struggle,” added Levin. “We look at global warming, family strife, technology-mediated relationships, racism, and societal polarization. Each song is imbued with a dichotomy between who we are now as a species and where we’re going.”

As the band hits the road in support of the album, it intends to explore the diversity of thought amongst its ever-growing audience in a world where it's increasingly easy to live inside one's echo chamber of ideologies.

“I think our music is powerful and capable of uniting people with different perspectives,” said Kion. “They may think about things differently, but they’re there together, part of the concert. The fact that music and art can bring people together in that way is a really significant force that’s needed right now.”

“We haven’t made a political album with Land Animal,” said Wallace-Ailsworth. “However, it’s definitely motivated by the difficult state of the world at the moment. If people are able to take some comfort in our music or create dialog through it, those are great things for us.”

Like the band’s previous work, Land Animal is full of fresh, sophisticated arrangements and beautiful vocal harmonies, but it’s also its most direct statement to date.

“It’s a really juicy and immediate album,” said Swain. “With our previous album Say So, I think it took people a few listens to absorb its themes. That’s not the case with Land Animal, which delivers more instant gratification.”

“We tried to balance that with an appealing narrative arc,” said Welch. “The album starts with ‘Terror Bird,’ a song about individuals and communication issues and ends with ‘Boxes,’ a song that explores the fact that we’re all marching towards our own demise, so we better make the most of the time we have. Land Animal is an epic journey.”

At the end of the day, the band believes strongly in music as a force for positive change and delivering ideas no other medium is capable of.

“We believe music is the most efficient way to get a point across,” said Baum. “The only way to cut through the noise of a confused, globalized world is to create something that speaks directly to the soul, and that’s what we hope we’ve done with Land Animal.”

--

Land Animal releases on June 23, 2017. The album will be available in standard CD, deluxe edition digipak CD, vinyl + CD, and digital download configurations. It will also be available worldwide across every streaming platform, including Spotify, Apple Music, Tidal, Google Play, SoundCloud Go, and Amazon.

OUR LINKS

• Bent Knee Homepage
• On Facebook

Tea Club

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With Confidence

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Seaway

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Between You & Me

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Doll Skin

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JD McPherson

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“I’ve always loved Christmas music, especially popular Christmas music from the 1940s and ‘50s,” says JD McPherson. “There’s something classic about that sound. Something that keeps you coming back, year after year.”

SOCKS, McPherson’s fourth album, dives headfirst into the world of original holiday music. Written, produced, and arranged by the frontman and his longtime bandmates, it’s a record rooted in the same timeless influences—from 1950s rock & roll to oldschool rhythm & blues—that inspired his breakthrough release, Signs and Signifiers, back in 2010. The result is a return to McPherson’s musical wheelhouse, mixing new songs and classic tones with his band’s sharpest performances to date.

OUR LINKS

Joel Paterson

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Too Many Zooz

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Nyc born brasshouse trio

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Birocratic

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