Manchester’s Murderers is the nom de plume for Luke Thompson. The ex-physicist, now game developer, began his musical journey to re-recreate the live circuit he loved and missed so dearly in the past year.
Image & artwork by Sam Tygier. Courtesy of Puffer Fish PR.
No one can recreate the live scene on record. Not fully. Thompson though has relayed his cinematic majesty. ‘Save Yourself’ is destined for the said big screen. Colossal in sound and clear in purpose, Thompson defines the inciting incident has laid out the quest and now, our hero must traverse his demons both physically and mentally, ‘Save Yourself’ is the emotive art to the spine-tingling montage accompanying it. The drama he deploys is tantalising close to watching a gripping film. Does the hero make it? Does he save the day? Well, the glory pervading ‘Man Made’ suggests yes and yes.
On ‘Made Man’, things get truly mega. The human spirit has been tested beyond what most thought possible this year. Thompson relays its frailties and, in doing so, what truly makes it great. Flawed, and fatigued but never out. Hope lives on in a new Spring or child’s first steps. For ’Made Man’ it comes in the form of a man-mountain of a synthetic soul record.
Defiant and determined but wavering on the edge. Thompson stands on the edge of the world, staring into the abyss. It stared back and encroached by the second. No matter, Thompson lays out his mortality and marches forwards to say ‘so fucking what’:
“it’s not a victory march / you will forget my name”
A resplendent trip to the 80s via the White Lies, Editors, and Spielberg’s masterpiece ‘Ready Player One’. This is as cinematic as an EP can be.