A sweet gift for grandparents of twins to show off their new grandbabies! With twins comes double bragging rights and this 5x7 white faux-suede covered brag book is two times the hugs and fun to show off to friends and family.

The grandparents of twins album features 16 inserts to hold up to 32 3.5x5 or 4x6 photos of the new twin grandchildren. The gender neutral grandparent brag book is post bound and acid-free. A perfect new grandma gift or new baby gift for grandma and grandpa as a twin pregnancy reveal, birth of twins gift, congratulations gift for first-time grandparents or baby shower gift for grandparents of multiples.

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So now you have made the decision to buy a few presents, you will need some 1st birthday present gift ideas. I really struggled this year as the twins had so many from their first birthday and we had packed them all away in the garage. I will be honest, I wrapped most of them up but we did buy Matilda a few new things too.

Perfect for small hands, the Playmobil 1.2.3 range makes a great 1stbirthday present yet older children get a lot of fun plating with it too. The twins enjoy setting the scene up and putting the pieces together which is very simple to do, and Matilda loves dropping the penguin down the slide.The set includes two penguins, two monkeys with bananas, three people, a dove, the fencing, wheelbarrow and fork and a bucket of fish.

We have always played music at bedtime for the girls. It has helped our three know that it is time to go to sleep and I will do anything to help aid sleep! This new Sleepy-time Igglepiggle is based on the character from the much loved Cbeebies show, In the Night Garden. Igglepiggle is super soft and cuddly. To make him play the tunes, simply press his hand and he will play soothing lullabies from the show. Whilst the music plays, Igglepiggles cheeks softly glow and he sways to the music.

Matilda finally has a doll of her own and one she can tell the girls is hers and one she can cuddle and fall asleep with! Baby Annabell Heartbeat is a great for young children because she is only 30cm and is very soft and head made from soft vinyl to cope with all the squeezing!

My eldest got a Bobby Car for his 1st birthday, and one of those wee ladybird backpacks with the integrated reins. My youngest had obviously already inherited loads of stuff from his big brother, so he got a large Paddington Bear + Paddington Bear book with the complete stories.

We love Dilly Blue peg dolls here! Beautiful, hard-wearing (doing well with our teething baby), and educational ? perfect for small world play, eco-friendly, and from a small UK business. Perfect! Plus you can get 10% off with code MAGIC10

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With songs that are both dynamic and introspective, they balance the darker shades of the emotional spectrum with an energy and momentum that gifts their music a powerful sense of urgency and drama. Their lyrics dig deep into the personal turmoil of love, life and loss, and have forged a new aesthetic that fuses the gothic with the romantic, viewing emotional themes through a darker lens.

Those singles tell a unique story: Tom accessing early synths; being so taken aback by the possibilities they offered; the Twins shifting from band to project as a result; where as much creativity - thanks to his two accomplices in the classic trio line-up, Alannah Currie and Joe Leeway - was poured into design, video and production as it was into everything else. It was that ethos that meant no group other than the Thompson Twins could possibly have released an anti-ballad as captivating as Hold Me Now, or an anti-drugs song as danceable as Don't Mess with Doctor Dream.

"People accuse the Thompson Twins of being saccharine because we were so poppy," Tom recalls. "But we headed in that direction consciously - we turned ourselves into cartoon characters for God's sake! - so it doesn't get more superficial on the surface. But we were doing things for real, for sure. Everything we did, we did because we felt seriously about it."

It was on the B-sides of those classic singles that Tom Bailey explored his love of dub music, although it's a love that stretches back to The Blankets, one of his earliest groups and Weather Station, a 1982 film soundtrack and his first solo release. Then came the A Product of...'s off-shoot, A Dub Product and, when the Twins' hit the big time, Tom would regularly, surreptitiously slip dub into the mainstream with tracks like Doctor! Doctor!'s B-side Nurse Shark and the flip of Lay Your Hands on Me, The Lewis Carol.

"B-sides were a great opportunity to experiment. Sometimes, because so little time was spent on them, they carried a carefree freshness, which is a rare thing. The remix/version was a big thing back then, and coming up with a radical, sometimes unrecognisable dub of an existing track was part of the creative fun."

Further, deeper explorations into dub territory have been the main focus of Tom's journey over the past two decades. As International Observer, he's released almost ten albums, the core works being 2001's Seen, 2009's Felt, 2014's Touched and the Dungeons of Dub series. But again, prism-like, Tom's pop sensibilities are audible even in some of his deepest dub cuts. Like his reimagining of The Animals in House of the Rising Dub, or a fusion of the mid-70s reggae of Burning Spear (Slavery Days) with late 70s synthpop of Jean-Michel Jarre for Popcorn Slavery.

With recent International Observer collaborators including Banco De Gaia and the Bombay Dub Orchestra, a certain worldbeat feel has filtered into Tom's work. But this is nothing new. This third corner of his musical prism has been there since the beginning. The fourth Thompson Twins single, Oumma Aularesso was Tom's rearrangement of a traditional chant from Sierra Leone. Its follow-up, Make Believe (Lama Sabach Tani) threw tablas into the mix. And as soon as the Thompson Twins became a three-piece, Tom followed trips to India with a trip to Egypt, and then worked with Alex Sadkin - following his production of Grace Jones' Nightclubbing - at Island Records' Compass Point studios in the Bahamas, to forge the sound of the Twins' most influential albums, 1983's Quick Step and Side Kick and 1984's Into the Gap.

The worldbeat element came further to the fore after the Thompson Twins officially disbanded with the formation of Babble with Alannah Currie, and two albums - 1994's The Stone and 1996's Ether. Then, in the mid-00s, Tom travelled up the River Ganges writing and recording - and performing at festivals to thousands at a time - as part of the ambitious Holiwater project. It spawned two albums: 2012's Holiwater and 2014's Maya, both of which were produced by Tom and written in collaboration with Sarod virtuoso Pandit Vikash Maharaj.

"One thing I've discovered - that I never really consciously understood back in the day - is that, although the Thompson Twins' songs nearly always have this bright punchy positive chorus, often evoking love and togetherness, there's actually a dark heart in most of the verses. There's all sorts of weird complications and confusions going on. They're not just boy-meets-girl love songs. I found myself relating very strongly to that, and what it means about what we all did 30 years ago, and what's happened to us all ever since then."

As a result, Tom has hand-crafted 10 songs that are instantly accessible not only to fans of classic Thompson Twins but also to a new generation who have been alerted to his quintessential sound and style after hip-hop producer Metro Boomin' remixed Hold Me Now for GAP's SZA-starring commercial that debuted at this year's Grammies.

Hard to imagine given the illustrious career covered here but Science Fiction is Tom's first ever solo album. It's also, to get the stats down on paper, his first pop album since Babble's Ether in 1996, and his first solo output since Industry and Seduction was used as the finale of Cool World.

"I so much enjoyed playing concerts around the world over the last couple of years, that I began working behind the scenes on writing, recording and mixing the songs in this collection. I have concentrated on other areas of music for the past couple of decades - but I find it incredibly rewarding to be making pop music again. There's something so special about the way this kind of music works and, for me, it's like finding a long-lost friend."

The tracks on Science Fiction spin the musical compass - from Synthpop-meets-soca on What Kind of World? to the stadium pop of Bring Back Yesterday to If You Need Someone, a track that's so radio-friendly every copy should come with a free pocket transistor.

While the Thompson Twins may have recorded in some of the world's most famous recordings studios, from Sarm West in Notting Hill to Compass Point in the Bahamas, nowadays Tom is free to record and write wherever and whenever inspiration strikes. "I recorded Science Fiction all over," he explains, France, New Zealand, London... These days, my studio is a laptop and a pair of headphones! I'm a real wanderer. I don't stay in one place for very long."

"I produced the album myself but worked with Hal Ritson (whose credits range from the Chemical Brothers to David Guetta) to produce the vocals. That's the one thing I can't do myself is be my own vocal producer, because I need to wear the performer's hat totally, so I get someone else to record my vocals and try and get the best out of me. But Hal had an idea to 'Latinize' What Kind of World? and to get a Cuban backing vocalist in to give it a real Cuban feel."

Worldly-wise, musically and spiritually, 2018 will see Tom take Science Fiction out on the road. And with good reason, this is the man who, after all, won Classic Pop magazine's award for Best Live Show in 2015 for revisiting the hits of the Twins in such a creative, retro-futurist way: highlights ranging from a wistful reworking of King For a Day to the steampunk opening of We Are Detective, adding all their visual trappings (right down the to the techno tambourine from the front cover of You Take Me Up) but with a modern twist. 152ee80cbc

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