It's not really a "britpop" comic. It's a fantasy graphic novel series where the characters extract magical power from pop music. It just seems the author has a thing for Britpop and Post-punk music.

 The author compares it to "Hellblazer meets Blue Monday". I've never read the Hellblazer comic, but I have seen the movie (Constantine). Blue Monday I have read, and that's basically about a couple of hipsters falling in and out of relationships with little sidebar notes like "soundtrack to scene: A Little Soul - Pulp".

Anyway, here's what the author has to say:

"“Music is Magic.

You know this already. You’ve known this from the first time a record sent a divine shiver down your spine or when a band changed the way you dressed forever. How does something that’s just noises arranged in sequence do that? No-one knows. It’s just… magic.

Everyone knows that. It’s just that some realise that it’s more than metaphor.“

The people in question are the Phonomancers, these urban-pop-obssessive magicians who channel and exploit this magic to achieve their desires. The DJ parasitizing from his retro-club’s crowd to achieve immortality. The girl rewriting her personality with a mix-tape. The boy selling out what a Goddess trapped in plastic told him to get an easy lay. And so on, through memory kingdoms, Faustian pop-pacts and a general avalanche of concepts.

This six issue series is subtitled “Rue Britannia”. While it stands alone, I’d like to return to the world and cast if it’s vaguely successful. The plot centres around one David Kohl (that’s him in the panel) trying to keep hold of his memories and identity as reality is rewritten by an opposing phonomancer cabal. Cue misadventures as he rushes from contact to contact, trying find a solution before being drawn to a final, desperate encounter beneath Primrose Hill.

It gets messy.

Pop music is magic: Phonogram

That’s all the text. The subtext of Phonogram is that it’s all real. The magic isn’t just posture, but an expression of my theories of how Pop music works. The metaphysics of its world are what I believe. Another standard way of me describing Phonogram is “Imagine Promethea if Moore cared more about the yeah-yeah-yeahs in Martha Reeves and the Vandella’s “Heatwave” than the deified sock-puppet he keeps in the bathroom”. It’strue . It’s music-journalism by other means, with its elements constructed not just because they look good or seem cool to us – which they do – but because they describethis is what music does to people.

It’s this which makes the whole thing the hardest thing I’ve ever written. If I was just doing it as entertainment, easy. If I was just doing it as theory, likewise. But it’s both, andhas to be both or it’s worthless. To express the magic of music, it has to be magic in and of itself – and that means the emotional connection of art. While people who like a dark-fantasy story will enjoy even if they don’t empathise or understand the buried elements, those who’lllove it are those who once put on a record and found themselves altered, forever.

And that’s what Phonogram is. It’s my love letter to music. It’s an honest letter – I’ve been shacked up with her for long enough to know that she’s a bitch with a cruel tongue and will happily destroy people on a whim – but it’s still hopelessly in love with her. Songs have made me kinder, crueller, smarter, dumber, funnier, happier, sadder, better and worse, and Phonogram is me and McKelvie telling you all about it.

Enough hyperbole.

For now, anyway – at least seven months until release means you can expect a lot more in this timbre, about various aspects. Next “thing” to expect to see if one of the B-side pieces. Little one-page narrative pieces which introduce one of the cast in a tiny narrative vignette inspired by a pop song. Written most of them already, and they should hopefully showcase the variety of tones in Phonogram.

I’m terribly excited by this and more than a little scared. You may be able to tell."