BLIGHT. Records is proud to announce Magic Coffin Ride, a new full length album from Philadelphia-based dust-pop magician Brian Reichert, a.k.a. Nyxy Nyx, is out today on cassette and streaming. Order the Cassette >>>
Magic Coffin Ride showcases a unique emotional alchemy that sets Reichert apart in a category of his own. Thick walls of electric guitar fuzz juxtaposed against chiming acoustic guitars allow Reichert's sorrowful yet playful lyrics to float on top the hypnotic rhythms and psychedelic noises, both engaging and disorienting the listener.
Speaking of the record, Reichert said “Magic Coffin Ride is basically a collection of last gasps – all my lowest moments, when I seek comfort staring at and through the walls – I think that’s where these tunes were born.”
Reichert seems to have his hand perpetually dipped in the subconscious realm of sonic inspiration. At his home in west Philadelphia, spools upon spools of burned CDs filled with unreleased and self-released music are jam-packed on every shelf. Though Magic Coffin Ride is the tenth Nyxy Nyx album, Reichert’s full discography is almost impossible to catalog.
For years, Reichert would change project names as often as albums were made, switching between names like Happybear Kaboom, Fun Tunnel, Sports, Tummy, Alien Beings, The Evildoers, Nervous System, and Brian Reichert & The Thomas Jefferson Airplane– eventually settling on Nyxy Nyx in 2014.
Blown away by Reichert’s near-obsessive creative output, BLIGHT.Records label-head Benjamin Schurr said "Back when I met Brian in 2005, he gave me seven albums which he had made in that very year and every one of them fried my perception of reality and gave me the wild idea that you could actually make really interesting records by yourself. I’ve been ripping him off ever since.”
In the Post-Trash premiere, Dan Goldin described the track Three-fold Return as “a landslide of texture without sonic overload, each fuzzy burst adding its own nuance before fading back in the hypnosis of it all. Expanding for nearly eight minutes with what programmed rhythms, shoegazey dirges, and what sounds like an omnichord filling the emptiest of spaces, it’s all stunning and focused, even as it warps itself into the ether of natural reverb and cascading repetition.”