The playful confidence that exudes Finlay Shakespeare's practice is flagrantly laid out on Domestic Economy, his extraordinary debut full-length. Domestic Economy displays two eventful sides evidencing the unique musical approach Shakespeare has developed in such a short period of time. Let's get some facts straight, Finlay is young. And talented. His programming skills belie his years and one can detect a sharp appreciation of historical electronic pop whilst simultaneously developing a canny understanding as to where such a form exists in the current age. Shakespeare's brazen lyrical content and significant melodic prowess highlight a brave new voice in what can often be a sterile aesthetic environment. Domestic Economy bursts with edgy ecstatic electronic pop. A form not only unusual for Editions Mego (actually known for idolizing such forms) but somewhat of a scarcity amongst the modern electronic landscape. Belying age, form, and movement, Domestic Economy is a damn near perfect amalgamation of historical respect and contemporary anxiety wrapped in an exquisite song-form package. Made in Bristol. Published in Wien. Delivered to all brains, like a wayward dream. Artwork by Nik Void. All original material improvised whilst recorded live; All revisions made to pre-existing material carried out at B17, July-August 2018; All material by Finlay Shakespeare, except saxophone and clarinet on "Amsterdam" by Zoë Hutton and bugle on "Heston" by Jamie Neale. Mastered by Russell Haswell.