The Deathray Davies- LAMPSHADE EARTHQUAKE MICROPHONE (Pre-Order)

Pre-Order: In stores November 6, 2026. 

Continuing their post-hiatus hot streak, The Deathray Davies are back with LAMPSHADE EARTHQUAKE MICROPHONE, an album that finds John Dufilho and company hurtling through a set of spellbinding pocket symphonies that cull inspiration from vintage garage rock and psychedelic pop nuggets while employing heady musique concrète embellishments and ornate studio wizardry. 2021’s Time Well Wasted ushered in the band’s return following a 15-year hiatus, but this outing reaches back even further for source material; the bones of the record stem from a shelved recording project started in 2006. These excavated sessions were reworked and polished by The Davies, carving out the 13 paisley punk epics that make up the tracklist. With dexterous songwriting, lush instrumental textures, and guest contributions from some Elephant 6 heavyweights, the resulting record is essential listening for the discerning indie rock and roll listener. It arrives via Having Fun / We Are Busy Bodies on November 6, 2026.

LAMPSHADE EARTHQUAKE MICROPHONE was completed at sessions in multiple studios – DRM and Valve in Dallas, Echo Lab in Denton, and Dufilho’s home studio Elephant Cloud, where he handled mixing and mastering duties. The album, for the most part, is performed by Dufilho on guitar/keys and Garner on bass, with the duo trading off on drums and singing in tandem throughout. Live band members Rich Martin, Nick Earl, Andy Lester, and Mike Middleton round out the proceedings, along with collaborators from the initial 2006 sessions – Dufilho’s Apples in Stereo bandmates all contribute vocals, as does the late Olivia Tremor Control co-founder Bill Doss, who also recorded the group of Athens, GA horn players audible on tracks like first single “Red Lights.” Apples leader Robert Schenider lent a hand in taming the recordings, spending about a week with Dufilho sifting through sessions and making sense of the two-decade old ideas. While one could be tempted to call the album a return to form, it’s more accurately a continuation. The record bears more than a passing resemblance to the Davies’ old material, but every corner is brightened by fresh inspiration; it’s a study in leaving no stone unturned.