12 Songs, 34 Minutes

EDITORS’ NOTES

Oklahoma’s JD McPherson is obviously obsessed with vintage recordings, yet his sound isn’t overly retro. Blame it on good taste and memorable tunes. Sure, straight-up rockabilly worship emanates from the opening “North Side Gal,” which sounds like it was mixed at Sun Studio circa 1956. And the piano-pounding, sax-blasting closer “Scandalous” would make perfect sense piping from the speakers of an old low-riding Chevy Impala (dig that vintage tube-amp guitar distortion). But McPherson deviates from total malt-shop kitsch with the slow-burning title track, which boasts proto-shoegazing guitar effects that have more in common with Johnny Marr than Johnny B. Goode. With its lush string arrangements and smoldering tempos, the dark and moody “A Gentle Awakening” would sit well on a David Lynch soundtrack or alongside Lana Del Rey’s “Video Games” on a mix for that special someone. Still, standout cuts like “Dimes for Nickels” (as well as the anachronistic album cover photo) reveal a man who feels more comfortable living in a world built from past artifacts.

EDITORS’ NOTES

Oklahoma’s JD McPherson is obviously obsessed with vintage recordings, yet his sound isn’t overly retro. Blame it on good taste and memorable tunes. Sure, straight-up rockabilly worship emanates from the opening “North Side Gal,” which sounds like it was mixed at Sun Studio circa 1956. And the piano-pounding, sax-blasting closer “Scandalous” would make perfect sense piping from the speakers of an old low-riding Chevy Impala (dig that vintage tube-amp guitar distortion). But McPherson deviates from total malt-shop kitsch with the slow-burning title track, which boasts proto-shoegazing guitar effects that have more in common with Johnny Marr than Johnny B. Goode. With its lush string arrangements and smoldering tempos, the dark and moody “A Gentle Awakening” would sit well on a David Lynch soundtrack or alongside Lana Del Rey’s “Video Games” on a mix for that special someone. Still, standout cuts like “Dimes for Nickels” (as well as the anachronistic album cover photo) reveal a man who feels more comfortable living in a world built from past artifacts.

TITLE TIME

More By JD McPherson