Over the course of their two-decade existence, Lightning Bolt have revolutionized underground rock in immeasurable ways. The duo broke the barrier between stage and audience by setting themselves up on the floor in the midst of the crowd. Their momentous live performances and the mania they inspired paved the way for similar tactics used by Dan Deacon and literally hundreds of others. Similarly, the band’s recordings have always been chaotic, roaring, blown out documents that sound like they could destroy even the toughest set of speakers.

‘Fantasy Empire’ is Lightning Bolt’s first album for Thrill Jockey and was recorded at Machines with Magnets (Battles, The Body). It is their first album to be recorded in a proper studio.

Throughout their 20 year history Lightning Bolt have toured the world, performing at Coachella, ATP Festivals, Pitchfork Music Festival, Austin Psych Fest and FYF Fest to name a few.

Lightning Bolt will tour extensively throughout 2015.
CD version in 4 panel mini-LP style gatefold package and fully artworked inner sleeve.

Deluxe double LP in a heavy duty old-style tip-on gatefold jacket. LPs are pressed on virgin vinyl and housed in artworked inner sleeves with free download coupon.

Special coloured vinyl format (white vinyl with added pink and blue) exclusively available to independent retailers.

Brian Chippendale also releases music on Thrill Jockey with his solo project Black Pus, has collaborated with Björk, Boredoms, Andrew W.K. and Lee ‘Scratch’ Perry and has published several books of his art through Drawn & Quarterly and Picturebox.

Brian Gibson has been developing the new video game ‘Thumper’ with his own company Drool, which will be released next year.

“The live feel of previous albums remains, but it’s as if they converted that vibe to 3D. The hi-res detail, especially in the fiery repetitions of Gibson’s bass, is as bracing as a face-slap. And the duo’s energy is so tangible you can practically see their sweat dripping. Even Chippendale’s trademark cover art has been made over, with his previous neon pastiches replaced by a darker swirl.” – Pitchfork