So often, debut albums are saddled with the weight of expectation. The members of Austin, Texas-based White Label Analog—vocalist Chris Didear, guitarist/vocalist James Millican, drummer/vocalist Heath Macintosh, keyboardist/vocalist Alison Pepper, and bassist Aaron Herbster—have been through that pressure before, and they know how to rise to the challenge with their electrifying debut album, In Case You Just Tuned In.

A theme of carpe diem envelops much of In Case You Just Tuned In. Even in the album’s most personal moments, White Label Analog is focused clawing their way out of the dark and into the light. Musically, the album is bursting with the vitality of this mantra, with energetic synths and vivacious drum beats that recall the most joyous moments in the listener. The result is an eclectic group of songs that seems to pull as much from pop rock traditions like The Killers as they do from indie bands like Two Door Cinema Club and Modest Mouse. In an era of convergence between indie rock and pop music, White Label Analog is the daring alliance between the two. Call it indie rock for the poptimist generation.

“White Label Analog have created a sound that echoes some of the greats in the Indie and Alternative genres (The Strokes, Bloc Party, The Hold Steady and Two Door Cinema Club), while remaining uniquely their own.” - Paul Driscoll (RadioBDC: Director of Operations and Program Development)

“I play over 40 new tracks weekly, and "Echoes" has been one of my strongest reaction songs of the year.” -Bruce Rave (host of syndicated show Go Deep heard on KXRN, Indie1031.com, WSUM, and WVMO)

“White Label Analog! Great songs! Loved their sound. We added “Echoes” immediately.” -Mike Fuller (Program Director-KACV FM90)

Residence: Austin, Texas

Genre: Indie Alt-rock

New Album: “In Case You Just Tuned In” released September 2nd, 2016

Previous Release: "A Little More Time" EP released on May 5th, 2015

Emphasis Tracks: Track 3 “Echoes” (radio single) Track 2 “Rainmaker” & Track 6 “Turn To Dust”

Credits:

Produced by White Label Analog

Recorded at Music Lane Studio, Austin

Mixed by Mark Needham (Saint Motel, Coin, The Moth & The Flame)

Dwight Baker (Kelly Clarkson, Blue October, Bob Schneider)

Chris “Frenchie” Smith (Gary Clark Jr., Built to Spill, Jet)

Mark Dufour (Ghostland Observatory, Vertical Horizon, Love Spit Love)

Mastered by Joe LaPorta (The Killers, Imagine Dragons, Vampire Weekend)

Players: Chris Didear – lead vocals

James Millican – guitar/vocals

Heath Macintosh – drums/vocals

Aaron Herbster – bass

Alison Pepper – keys/vocals

Distribution: Online and retail outlets including Amazon, CD Baby, Super D, Alliance, iTunes, Waterloo Records, End of an Ear, Antone’s Records

Of Note:

• “Echoes” received spins on KROQ (LA), WRFF (Philly), KTCL (Denver), WLKK (Buffalo), WWCD (Columbus), KFMA (Tucson), KRXP (Colorado Springs), KLBJ (Austin), with official adds on KACV (Amarillo) and RadioBDC (Boston).

• Track 11 “Hard Road” is a Black Sabbath cover from the 1978 “Never Say Die!” album.

• EP emphasis track “Oceana” licensed for feature film “Trippin’ to the Altar” by director David N. Reyes. Won Best Domestic Comedy at Fort Worth Indie Film Showcase and nominated for 5 awards at the Austin Revolution including Best Texas Comedy Feature.

• Debut EP A Little More Time (May 5, 2015), reached No. 3 and charted for several weeks on ReverbNation’s Austin Indie chart

• The band just completed a 6,000 mile Midwest/West Coast tour which included stops in Denver, Seattle, LA, San Francisco, & San Diego.

• White Label Analog has been selected as a showcasing artist for Canadian Music Week in Toronto, CA in April 2017.

• The band will be performing at the RadioBDC's Plus One event in Boston, MA with Trapdoor Social in February 2017.

• White Label Analog will be featured as one of the "10 Bands to Watch" in the March 2017 issue of Austin Monthly.

• The origin of the term "White Label" can be traced to vinyl records. Before records were to be released to the public, often before official artwork was designed and printed, promotional copies were sent out in a white sleeve to DJs to solicit radio and nightclub play, in an effort to build hype and gauge public interest by the record labels, ultimately to better estimate manufacturing quantities. This created a situation where certain respected or well-connected DJs would have exclusive copies of material, immediately increasing demand on certain big records.