Issue 108 / 15 May 2026
The essential DIY electronic music lowdown: Track Of The Week: Mike D + Album Of The Week: Bobby Ingham + Plant43 + The Holy Sun Opera House + Euan Dalgarno + more
Brace yourselves. Some weeks we hit the motherlode and this is one of those weeks. There’s four releases this week, any one of which could have ended up as our Album Of The Week. The variety on show across these releases too is just as impressive. We live in exciting times. Musically at least. The less said about a Labour government that is about to implode the better.
The sun was out for last weekend’s Indie Label Market in King’s Cross. I really enjoyed seeing the likes of Library Of The Occult, Clay Pipe, WIAIWYA, Fika, Mute and the boys from Disco Pogo in real life. We’ve got our own IRL Moonbuilding experience in the pipeline this summer… more news about that soon.
As I say every week, don’t forget there’s a new live Moonbuilding Session for download, which is exclusively for our brilliant paying subscribers. It’s a live recording made at the launch of Paul Cousins’ ‘Vanishing Artefacts’ album in 2023. Paul is wildly talented, he works with reel-to-reel tape machines and prepared tape loops that he transforms on the fly into breathtakingly beautiful music. It’s incredible stuff. Subscribe now for instant access.
Righto, that’s me for another week. Happy reading.
Neil Mason, editor
moonbuildingmag@gmail.com
Issue 108 Playlist: Listen
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MIKE D ‘Switch Up (UMG Recordings)
Photo: Jack Coleman
Yeah, UMG are about as far away from Moonbuilding world as the actual Moon itself, but very occasionally I have to make exceptions. Mike D is someone I will always make an exception for. ‘Switch Up’ has been stuck in my head all week so I’m sharing in the hope it gets stuck in your head too.
The thing with the Beasties is they were always a pure entity. It’s all three of them or nothing. With the untimely death of Adam Yauch in 2012 you figured that would be that, that Mike D and Ad-Rock would, as they did, disband and indeed in 2014 there was a statement saying there would no more music as the Beastie Boys. They left a pretty cool legacy, no?
So this is the first-ever solo outing from any of the Beasties, which is pretty exciting. It’s the first peep since ‘Hot Sauce Committee Part Two’ in 2011, which is long time to not to be thinking about the Beasties.
An album will be following hot on its heels, no details of a title or release date as yet, but there was a show in LA where he performed with his new five-piece band, 5D, everyone dressed in fetching blue prison-looking garb. The band includes his sons, Sklyer and Davis Diamond, who get production credit on the new track. They are, of course, in a band of their own, Very Nice Person, who are worth seeking out. They’re a quirky indie band, the sort of outfit Mike D would have snapped up for his Grand Royal record label in the 90s. Rolling Stone were at the LA show and say the single is an anomaly among the new material and describe the new songs as having “a ‘Check Your Head’ feel. Exciting. The tour hits London on 5/6 June. I will report back.
BOBBY INGHAM ‘Angel Of The North’ (Sneaker Social Club)
Words: BEN WILLMOTT
In 1993, the artists formerly known as The KLF – who had, the previous year, announced their retirement from music from the stage of the Brit Award, having been the UK’s biggest-selling singles act – hijacked the Turner prize. Under the new K Foundation banner, they took out TV and press adverts offering double the official prize money for what the public deemed to be the worst piece of art among the four finalists.
They then turned up outside the awards ceremony at The Tate – there was only one back then – flanked by scary looking security and an armour-plated tank and presented Rachel Whiteread with the money, nailed to a picture frame. She originally refused it, but when Bill Drummond and Jimmy Cauty said they would torch it there and then if it went unclaimed, she relented. Given that they’d not long previously filmed themselves burning a million pounds of their own money, no one doubted they were serious.
While it’s true that the KLF always had a knack for an attention grabbing stunt, it was – as was usually the case with the pair – one with a serious point at its core. The art world back then was completely dislocated from the average person in the street, and even further from the world of underground dance music that had spawned The KLF.
A lot has changed in the relatively short – in art history terms, anyway - time since then. The Tate Modern has transformed modern art from pariah status to one of the world’s biggest tourist attractions. In 2013, they installed the old masters themselves, Kraftwerk, for a series of shows in their Turbine Hall. Not long after, in 2017, their subterranean space The Tanks, which serves up live art, performance and film and video work, played host to a memorable BBC Prom featuring Actress and the London Contemporary Orchestra.
A new generation of conceptual artists, too, have embraced rave and electronic music and the seismic effect it’s had on Britain’s culture. You’ll doubtless know about Jeremy Deller and probably even seen his film ‘Everybody In The Place: An Incomplete History Of Britain 1984-1992’, which frames the huge societal changes of the time with the rise of electronic music and free parties. In what is perhaps the ultimate irony of all, he won the 2004 Turner Prize with a selection of work that included a spider drawing linking acid house with brass bands titled, similarly, ‘The History Of The World 1997–2004’, which featured The KLF prominently alongside the likes of Throbbing Gristle, A Guy Called Gerald and 808 State. As leading transvestite potter (his words, not mine) Grayson Perry put it in the title to one of his (all excellent) Reith Lectures in 2013: ‘Nice Rebellion – Welcome In!’
Mark Leckey is slightly less of a household name, but the work of the Wirral-born video and “found object” artist has been shown in galleries all over the world. Having previously claimed one of the major influences on his work was not Picasso or Warhol, but Acen’s 1992 hardcore stonker ‘Trip II The Moon Part 2’, he’s now turned to Bobby Ingham to soundtrack his latest work.
Leckey’s work often revolves around the twin forces of nostalgia and anxiety, and you can see why he picked the 24-year old’s music. This album, which is Ingham’s debut for the consistently inventive Bristol-based Sneaker Social Scene label, home to Low End Activist among others, is fuelled by a very similar tension.
It’s a tension borne of homesickness. When Ingham moved to London he found he was missing his native Leeds, so decided to recreate it though both personal and online recordings. What he created, however, is hardly a rose-tinted view – anything but. Peppering the distinctive regional voices across what Sneaker Social has self-styled “weightless”, a form of music that takes its starting point as Wiley’s ultra-minimal ‘devil’s mixes’, effectively a form of UK garage and dubstep where the beats have been hollowed-out, leaving sparse, dislocated husks of tracks where the tense, potentially violent vibe of the genre is left intact, but almost everything else has gone.
So, the opening track ‘Lynne’ features the voice of Ingham’s own grandmother floating over a flickering, ghostly echo of a melody, light static and crackle sprinkled on top. It leaks into ‘Easy Mush’, punctuated by male voices, one laughing and declaring the track title, a second ominously suggesting “simple... finish him off.” Who, what or where, we don’t discover. Dark keyboard notes surge, like the intro to a euphoric rave anthem that never arrives. A skittering hi-hit provides the only semblance of rhythm, and rather than ushering on a groove, merely keeps dying away.
‘Leave It Then’ captures moments of dark aggression. A policeman shouting “back, back” and various voices from a fight that’s either about to kick off or has just happened – “Fucking hell, man”, “Leave it out, man”, “Two against fucking one, dickheads…”. Over more eerie synths, the music stutters and spits, a solitary kick drum sounding positively funereal.
‘I Feel So Good I Swear I Could Fly’ hears a northern voice, possibly Ingham, poetically describing a fumbling sexual encounter, “tracksuit bottoms undone, hoodies held high… movement under the covers…”, but the atmosphere is dysfunctional again, a rough-cut garage-y breakbeat falling in and out, deep, dark synths hovering like police helicopters.
‘WYD Tomorrow Night’ does introduce the album’s first beat (we are five tracks in, after all), but the cavernous sounds and the spliced voices keep things on edge. Eventually a legal charge sheet for a minor obstruction is read out. Party central it is not.
‘1st Memory Of Love For DRXSJKFL’ invites Wakefield poet Pretty V to voice a narrative about a young soldier, who first felt love in his life the moment he died for his country, joined by harsh drum rolls and a creeping, slow synth arpeggio. After all that, ‘I Can’t Believe It’ feels like an oasis of light and uplift, the angel mentioned in the title quite possibly given voice. Up in the ether, an ancient sounding choir blends with swirling rave sounds and a rave diva declaring she “Can’t hold back what I’m feeling inside of me”. A BBS remix of the same tune follows on, again completely “weightless”, just a burbling keyboard line, effects and an echoing soul voice, eventually leading to a closing grime-style rap.
The soul motif continues on into the closing track, a remix of ‘In A Town Stuck In Time’, drawing on the kind of ‘Northern Gothic’ aesthetics that have been gaining Rainy Miller plenty of attention over the past year or so. A grainy UKG beat and an organ riff shuffles away, the narrative voice finally calm, perhaps more resigned than resolved. It’s a hint of, if not quite redemption, then resolution, as things draw to a close.
If it all sounds a little grim, then, we won’t lie, it is. Continuing in Sneaker Social’s rich tradition of street beat-related sonic experiments and social commentary, ‘Angel Of The North’ definitely fits in alongside Low End Activist’s ‘Airdrop’ and, even more so, his ‘Municipal Dreams’ album, which detailed the now Berlin-based producer’s youth on the carjacking and riotous streets of Oxford’s post-industrial Black Leys estate via archive spoken word – it is dark, but also compelling like a car crash you can’t take your eyes off.
High art with is roots in the gutter or the other way round, it’s hard to be sure. All we know is we love it.
sneakersocialclub.bandcamp.com
Ben Willmott is the editor of Juno Daily
Got something you need to tell us about? email moonbuildingmag@gmail.com
Words: Neil Mason
GOOD STUFF #1
PLANT43 ‘Spells For Warding Off Evil’ (Silver Threads)
The third release on Jo Johnson’s Silver Threads label, and she didn’t have to go far to snag this beauty. As we’ve discussed more than once here, Jo and Plant43’s Emile Facey are a couple. Blimey, the talent in that house. It’s tempting to see if they’ll adopt you in the hope some of it might rub off. ‘Spells For Warding Off Evil’ finds Emile in ambient mode, and it’s the dark end. The very dark end. You will need a torch for this stuff.
Don’t let opener ‘Spheres Of Protection’ lull you into any false sense of security. It’s a low rumbling drone, but over the top there’s this bright, delicate pulse, like a spring being twanged. ‘The City Lies Silent’ again comes on with this huge deep rasp of electricity and over the top there’s these dazzlingly bright pings. It’s almost like they don’t belong together and yet, once you tune in, they absolutely do belong together. There’s bird song here too. Bird song!
And then, three tracks in, goodness me, ‘Unbroken Hex’. I’d have trouble convincing anyone this is ambient. It’s so deep and rippley and totally noisy… what else could you call it? It has a pulse, but there’s not a beat. I know it’s my job to stick neat and tidy labels on things, but I really don’t know what to call this.
It sounds machine driven, mechanical, it’s deep, dark and full of electrical growls. You like to imagine that these tracks are live jams with Emile wrestling to keep a hold as the tracks start to peak. ‘Spells For Warding Off Evil’ really draws you in too, it’s a proper, proper listen.
The first time you listen to this album, you’re taken by surprise I think. You need to figure out what is going on, what the sounds are, what they’re doing. Like I said, they feel like they’re often two different things. But the more you listen, and I’ve had this on a lot this week, the more it pulls you into its perilous orbit. It’s not something you leave on in the background, it’s so unusual, so different, it demands your attention.
It’s long too, 12 tracks, nearly 70 minutes of sound, some of the tracks really unfurl over six, seven minutes, like ‘Dreams In Vermillion’, which opens up to the sound of running water and yields to electrical pulses, which sound like they’re revving up, changing gears almost, as the track speeds off. Closer, ‘Embers Of The Old World Fade’, is intense. Again, there’s that huge electrical buzz shimmering away, but this time it feels soundtrack like. It’s a cargo ship commuting in deep space, or something hidden from sigh in the deepest depths of the ocean. There’s a sound emerging too, it’s tuneful, melodic almost and then it starts to fade, an almost choral vocal making it way to the front.
This is incredible stuff, but you expect no less from Plant43 and from Silver Threads.
GOOD STUFF #2
THE HOLY SUN OPERA HOUSE ‘The Holy Sun Opera House’ (Hologram Opera)
Some weeks we just have an embarrassment of riches on the release front. This week is one such week. Any of these Good Stuff picks could’ve ended up as Album Of The Week if the wind was blowing in a different direction. Hologram Opera, as those who have been paying proper attention will know, is the LA-based label of Morgane “Hologram Teen” Lhote and her pals The Holy Sun Opera House, who make their long-playing debut on the label in some style with this eponymous release.
THSOH, as no one is calling them, are LA-based duo of composer/music director DL Salo and lead soprano/percussionist Krissy Barker. Yup, it is as their name suggests, operatic, but this ain’t like no opera you’ve heard before. Or maybe it is. I’m sure there’s an underground DIY opera equivalent of Moonbuilding somewhere… if you know where, do point me in the right direction.
We are really going for striking albums that sound out of the ordinary this week. This thing has CLOUT. Along with Krissy, there’s a six-piece choir, real people, which I think is why everything here sounds so huge. The A-side… this is exactly the sort of thing that was made for vinyl… the A-side feels like it’s the warm up, the prelude. We featured the opening track, ‘Voice Of Gob’ as our Track Of The Week a while back. All sweeping minor chords tugging away at the melancholy in you, very dramatic it is too. ‘Passage II’ feels incredibly spooky, like it’s lost in the fog. Or about to jump out of the fog and into your path. ‘Latched On’ is gorgeous, the vocal is more pop than operatic, the rhythmical phrasing is really beautiful, and then it all kicks off, the music explodes, back comes that soprano drama and the twinkly music box ending is such a treat.
You know who all this would appeal too? Our pal Penelope Trappes. She’d love the drama and the sheer scale of this. There is something of night about it all. The sound world, like that of Plant43, is next level. I’ve been cranking this out at volume when Moonbuilding HQ is empty, boy, it’s good. In places my speakers are hanging on for dear life. The B-side does not mess around either. It’s vast from the off. The opening track, ‘The Attic’, is flipping enormous. ‘Room That Wasn’t There Before’ is another one of their “pop songs” that will totally blind side you if you’re not hanging on. The fade-out is the sort of thing that’ll have you on your feet and cheering as it morphs into ‘Passage 1’, which feels like I’m selling it short to call it a drone. It’s such a piece of work you almost feel like crying when it’s done. And yet this record isn’t done with you. There’s still closer ‘Room With The Rain’. Brace brace brace.
DL Salo has form this this kind of work, classical meets opera meets electronics, I have to say, listening to this, and considering he’s Hollywood-ish based, I’m surprised his work hasn’t graced blockbusters. I mean, if you wanted to attract attention this would do it. The Holy Sun Opera House, holy shit. This is an almighty piece of work.
GOOD STUFF #3
EUAN DALGARNO ‘Cliff Workshop’ (Bytes)
To complete this startling trio of releases, and I would strongly suggest you don’t scrimp this week and just buy the lot, we have Edinburgh-based Euan Dalgarno with his first outing on Joe Clay’s brilliant Bytes label. Joe is a man with fine ears and great integrity. If he’s putting stuff on my desk I will be listening to it, what’s more, before I’ve even heard a note, I know it’s going to be worth my time.
There’s such a great daft story about why Scots rocker Biffy Clyro are so called. The title of this reminded me of that. The story goes that while the band were still schoolboys they hit on the wizard money-spinning scheme to create Cliff Richard merch, including a pen. I’ll wait. It’s a story that, even just thinking about it makes me laugh. I’m not saying you shouldn’t use the word “Cliff” in titles or names, but it is going to get me going.
I really don’t want to make light of ‘Cliff Workshop’, which deals in serious matters. It was written in the spring of 2025 while Euan was recovering after an accident. With its reflections on his period of healing it is almost the perfect antidote, if that’s the right word, to ‘The Holy Sun Opera House’.
While the notes aren’t specific about the nature of the accident, you assume it was serious. There’s a track called ‘The Bealach’, piano-driven, that sounds like the blips and beeps of a life-support machine (along with some wonky tape loops and all-consuming ghostly shimmers). I mean, maybe it’s not life support, it is towards the end of the album… but I’ve just looked it up and Bealach na Bà is a single-track mountain pass in the The Highlands that rises from sea level to over 2,000 feet in six miles. Which is steep. Of course, it’s always good not to have everything spelled out for you, let your imagine do some of the work, but it’s got me wondering. And googling.
The eight tracks drift “between calm, Eno-like textures and sudden bursts of distorted guitar and dense sound”. “When I listen to them now,” explains Euan, “instead of taking me back to those darker months, the songs feel reassuring.” And they do. The opener, ‘Catterline’, features the spoken word of frequent collaborator Claire Shanley-Inglis, her voice almost dreamlike, in a good way, among the field recordings, heavily effected guitars and gentle synthy goodness. ‘Rockethaus’ is lovely, very Eno with its waves of sound washing up on your shores.
‘White Moth’ is a powerful piece of work with its rich, warm bowed string drama and voices off, which are strangely comforting, closer ‘Mastergoode’ is delightful swirl of sounds, slurred loops, huge sweeps, buzzes and the like and I especially like the title track with its weird long intro that sounds like something a long way away before it springs to life with shivery shoegaze-like textures. It’s all such lovely stuff and great way to round off this week’s recommended, highly recommended, listening. You are being spoiled with the Good Stuff this week.
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THE ROUND UP’s ROUND UP
Got a few to get through here. Buckle up. Last week we were frothing over Euan Alexander Millar-McMeeken’s ‘Framed Insects’, an album I fully expect to see riding pretty high in our Albums Of The Year list, when it comes to that. Gawd, we’ve not even had summer yet and listen to me. I mentioned Yoal’s ‘Gloaming’ (Lost Tribe Sound) in that review as it’s a collaboration “formed through a long‑distance exchange between Scottish musician Euan Alexander Millar‑McMeeken and Japanese artist Satomimagae, who first connected through a mutual admiration for each other’s work”. I would recommend checking out Satomimagae’s work if Euan’s work at all appealed last week. I would also suggest you make a beeline for this beautiful record. It has that same almost-not-thereness that Euan’s work has, of course. For example, ‘I’ll Give You The Sun’ seems to flicker with shimmers of sound, a gentle voice gently feeling its way in the background. The notes talk about the pair drew “unconsciously and then more deliberately on the traditional folk languages of their respective homes… a meeting point between English and Japanese sensibilities”. Fascinating stuff.
Another cast back to last week where Austria-based Mitra Mitra were our Track Of The Week. Here they show up with their fourth long-player, ‘Glassy Tears’ (Feral Child). It will be one of the last LPs Dom Martin issues in his long-time role as arbiter of all things fantastic. His fine ears for this sort of thing will be missed. Here Mitra Mitra move from work that was pinned as minimal synth into “mutant dancefloor synthpop” territory. It’s really great, Violet Candide’s deadpan vocal meets Mark Crumby’s wonderful driving, rich warm synths. The title track is great, sounds like Kim Wilde being covered by Kraftwerk. This is the stuff Moonbuilding was set up to point at and make approving sounds about.
We’ve talked before about Buildings And Food before, the work of Toronto-based Jen Wilson, a classically trained pianist, visual artist and multi-instrumentalist. We really enjoyed her ‘Provincial Park’ album from last year. Like we said then, anyone naming themselves after a Talking Heads album is ok by us. This release, ‘Yutori’, is her sixth long one and it’s as soulful as her last we’re pleased to report. She talks in her notes about how it was inspired by her Japanese/Canadian ancestry and is “made in the spirit of Japan’s 20th century kankyō ongaku environmental music movement”. If you’re not sure what that is, it was ambient music composed for specific environments that started out in the 1960s. Think ‘Music For Airports’ and stick it in various buildings in Japan I guess. There’s a great compilation called ‘Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990’ put together by Visible Cloaks’ Spencer Doran on Light In The Attic if you’re interested to learn more. Anyway, Jen says the title, “yutori”, refers to “the modern Japanese philosophy of consciously slowing down to create mental and physical spaciousness to reflect, create, and savour the world around us”. Yup, does that. It’s one of those get the windows open and let it mingle with the noises outside type of records. ‘Wanderer’ is my favourite track at the moment, but it’s all really lovely, there’s so much warm keyboard work here, such lovely sounds. Tracks like ‘Circles’, ‘4AM’ and ‘Books’ would really appeal to fans of Clay Pipe I think.
With one of the best album titles we’ve see in a long time, our pals at New York’s RVNG Intl label bring us Discovery Zone’s ‘Library Copy Do Not Remove’. The album is, says the notes, “a sonic document of an immersive multimedia program originally written for and performed inside of the historic Zeiss-Groß Planetarium dome in Berlin, Germany”, which, you know, sounds like something we’d all like, right? Discovery Zone is JJ Weihl, an American musician, multimedia artist, filmmaker, DJ and former radio host. I don’t think she’s missed anything out there! How do people find the time. I’m Neil Mason journalist and that’s it. Maybe I’m journalist, eater, sleeper and occasional shopper at Tesco. “The album,” is says here, “invites listeners into an eternally expanding ‘circular library’, an information network containing everything that ever was or will be”. Wow eh? Very ‘Hitchhikers’ which makes us like this even more. It’s lovely, like Jen’s album above, the sounds are lush. ‘Big Bang’ has these great random electronic squibs firing all over the place over the top of huge organ-like chords. ‘Arp Angels’ is pretty funky, it comes on like a long-lost Art Of Noise cut, while ‘Dusk’ is has this delightful melodic plink-plonk that builds into a track with such a warm bassline. Liking this a lot.
It’s becoming a regular thing this, the 9PR release at the end of the newsletter! Third week in a row now and this one was hard to ignore. I first heard Speedy J on Warp’s seminal ‘Artificial Intelligence’ collection where Jochem Paap touched down with the delicious ‘De-Orbit’ and ‘Fill 3’. I’d completely forgotten the Dr Alex Patterson track tucked away on the end of that compilation, ‘Loving You Live’ is a sprawled out take of ‘A Huge Ever Growing Pulsating Brain…’. the Aubrey Mix I think it is, but stripped of the beats. Really great stuff. Anyway… ‘Walkman’ (STOOR) is everything you would hope froma first full-length in over 20 years from Speedy J. Guess why it’s called ‘Walkman’? Yup, it’s an hour an half long and apparently the 20 tracks fit perfectly on two sides of a C90. It is very mixtape like, “from two-minute beat nuggets to full-tilt techno workouts and immersive ambient drops”. It reminds me a bit of those DJ Food ‘Blech’ mixtapes on Warp tapes, gawd I loved those. This is much more scatty and ragged than those those though. The tracks range from the breakneck pots and pans beats of ‘Drift Vector’ to the floorfilling grooves of ‘Freeqwarp 2025 Redux’ to the almost delicate ‘FoldSP4’. There’s a lot of ‘Arp’ titles this week. Well, two. There’s Discovery Zone’s ‘Arp Angels’ and here the opener is ‘Arp Δmp Chasm’. Raiders The Lost Arp. Yarp. There’s a lot of sketches here, you can tell from the titles like ‘Mod Loop 138/Fragment’ which is really great as Speedy carves a rhythm from a, well, modular loop. Love the crackling it brings in its wake too. It all feels like you’re being allowed to rummage around in Jochem’s head. Really great stuff if you like your dancefloors on the weird side.
MOONBUILDING ISSUE 6 … SOLD OUT
Holy cow. MOONBUILDING Issue 6 is completely sold out, so it isn’t available from moonbuilding.bandcamp.com Sure someone is trying to cash in via Discogs.
Let’s look at what you missed, although it is still available digitally of course. Our cover star, illustrated by the peerless Nick Taylor, is the unstoppable force that is LOULA YORKE. In our bumper interview we talk about how she got here and where she’s going. As usual, it is an in-depth piece that lifts the lid on the brilliant mind behind the excellent music.
We meet Loula at her home in Suffolk where we have a proper rummage around in her world, musically, humanly, psychologically, probably even a bit metaphysically. It is a cracking read and opens the doors on what makes this most remarkable artist tick.
As always the issue comes with an accompanying CD. This one is a Loula Yorke collection called ‘How Did We Get Here’, which is compiled by artist herself and charts her rise and rise. The resulting 11-tracker will take you on a journey through her career to this point and it is utterly, totally, absolutely, exclusive to Moonbuilding.
Elsewhere, there’s a great chat with Clay Pipe Music supremo Frances Castle as we profile her wonderful label, A’Bear gets in on the There’s A First Time For Everything act, we round up an absolute mountain of recent releases and serve up our thoughts on the best albums from the last few months, which feature Loula Yorke, Warrington-Runcorn New Town Development Plan’s Gordon Chapman-Fox, Cate Brooks, 30 Door Key and Sarno Ultra.
We talk to ‘This Is Memorial Device’ author David Keenan about ‘Volcanic Tongue’, his debut collection of music writing. He is one of the last generation of music writers who could actually call themselves journalists. He talks a lot of sense and his work is a shining example of what music writing should be. It’s an unmissable interview.
Elsewhere, we round up an absolute mountain of recent releases and point you in the right direction of some mighty fine independent magazines and books. The Orb’s Alex Paterson tells us about his ‘Top Of The Pops’ experience when he appeared on the legendary show performing ‘Blue Room’ in 1993. I say performing… There’s a new Captain Star cartoon strip from the brilliant Steven Appleby. I constantly have to pinch myself that this strip, that I first read in the NME in the early 1980s, is now in my little magazine.
Find us at moonbuilding.bandcamp.com.
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