Issue 112 / 12 June 2026
The essential DIY electronic music lowdown: Track Of The Week: Flying On The Ground + Album Of The Week: 'The Silent Harvest Vol 1' + The Empress + Audio Obscura + Age Of Chance + more...
I was going to use this space to set straight the Telegraph review that said Kraftwerk weren’t all that at The Royal Albert Hall last week. The thing with music criticism is you do have to be right. Their reviewer, the poor, lost soul, was quite wrong. The latest iteration of Ralf’s mission to refine Der Katalog to the Nth degree was performance meets art perfection.
So I’m not going to do that. Instead I’m going to tell you about this year’s Oram Awards. Named after the BBC Radiophonic Workshop alumni, the awards make a welcome return after a fallow year and as usual they’re looking to celebrate women and gender-diverse artists who are experimenting with sound, music and technology.
You don’t have to have released anything, be signed, play live or any of that to apply. You just need to be doing interesting things with sound. Applications for this year’s awards open on Monday 15 June and run to 19 July. For details, visit oramawards.com
The all-new Moonbuilding June session for our brilliant paying subscribers has been going down well. Our new set comes from the Liverpool’s Lo-Five, who serves up a whole album called ‘Vanish’. Sign up now for a paid subscription, which is just £3.50, and you’ll get instant access to the session in your welcome email. You know it makes sense.
Last but not least, we have the very excellent Rob Fitzpatrick in the house penning our Album Of The Week review this week. Always a treat to have Rob writing in the issue.
Happy reading.
Neil Mason, editor
moonbuildingmag@gmail.com
Issue 112 Playlist: Listen
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FLYING ON THE GROUND ‘Goodbye, My Friend’ (Golden Lion Sounds)
Photo: Jamie Herbert
You may be aware of Hebden Bridge-based outfit The Lounge Society whose 2022 debut album ‘Tired Of Liberty’, on Dan Carey’s Speedy Wunderground label, was very well received. Comparisons with Television found them hoovering up fans like A Certain Ratio and playing live alongside the likes of Fontaines DC and The Strokes.
Not bad for four lads still their teens. Four years wiser, Flying On The Ground is precisely one half of that unit, drummer/producer Archie Dewis and guitarist/vocalist Hani Paskin-Hussain and they’ve made the leap from one great label to another. This new track crops up on Golden Lion Sounds, the imprint of the famous Todmorden boozer/live music venue of the same name.
You will know the label round these parts for its brace of Weatherall-inspired ‘Sounds From The Flight Estate’ compiles. Both of which still get a regular airing at Moonbuilding HQ. This year, the label does seem to be picking up the pace release-wise too. In January they popped out a cracking EP by C Douglas. A hook-laden bedroom synthpop missile, it was produced by Friend Of Moonbuilding Mr Steve Cobby. There was an EP from the aforementioned The Lounge Society in Feb and now there’s this.
This! ‘Goodbye, My Friend’ is rather great. It’s being described as zen krautrock, which makes sense when you hear it. It feels a lot less angular and angsty than the mothership. It’s also more electronic and comes fitted with delightfully mellow krauty guitars. The track itself addresses “the hardship and difficulties that the duo has felt and still very much feel. It’s a reflection of clinging to that teenage dream that slowly drifts with the onset of adulthood”. There’s a really good interview with the lads from late last year on God Is In The TV (here…) where they talk openly and honestly about being chewed up and spat out by the business of music.
It appears that with this release, The Lounge Society, are officially on the back burner as the other half, singer and bass Cam Davey and guitarist Herbie May, also have their own solo projects. More of which soon no doubt. Herbie already runs his own Red Liquorice label (here…), which is a worth a check.
As is this new track. Expect a remix EP very soon. Looking forward to seeing who they’ve got lined up for that. Aforementioned fans ACR have turned in a remix previously, so…
VARIOUS ARTISTS ‘The Silent Harvest Vol 1’ (Folk Police)
Words: ROB FITZPATRICK
It feels entirely appropriate that the brutal new media overlords who tightly control the output at Moonbuilding Towers decreed that I should review this album as it’s only a few nights ago that I finally finished Rob Young’s exemplary ‘Electric Eden’.
If you’ve not read it (and I’m truly ashamed to admit it took me so long), it is the defining history of UK folk music and culture, with the late-60s folk revival at its heart. What Young’s book so skilfully and poignantly reveals is how, over hundreds of years, our idea of what “folk music” is, what it’s for and what people think about it has changed many, many times. Each successive generation, quite rightly, completely reimagines this treasure trove of words and melodies and dreams, and what they each leave behind is a stack of albums both musicians and listeners continue to pore over and take inspiration from.
Which brings us ever so neatly to ‘The Silent Harvest’, a picture of an anti-eden (not Anthony Eden, that would be ludicrous) alive with electricity. This is a collection of pieces by what the label describe as “modulists, ambientologists and other electronic musicians from the UK” that pay tribute to a 10-LP set of English, Scottish and American traditional folk songs and ballads recorded between 1967 and 1968 by Ewan MacColl and Peggy Seeger and released as ‘The Long Harvest’. But it also draws inspiration from another source.
Rachel Carson’s book ‘Silent Spring’, published in September 1962, documented how synthetic pesticides (specifically DDT) were moving through ecosystems, killing birds, contaminating water and, ultimately, accumulating in all of us, in our own human tissue. Carson’s argument was both simple and devastating – the chemical industry knew this would happen and decided to lie about it. ‘Silent Spring’ got DDT banned and, effectively, created the modern environmental movement. At this point it feels germane to say that all profits from this comp will be donated to The Wildlife Trust.
So, with those musical and thematic concepts in place, what’s this thing actually like and what, I wonder, would Cecil Sharp, Dolly Collins, or even the mighty Pentangle make of it all?
I suspect their first reaction would be “Is this even ‘folk music’?”. There’s not a Bowed Psaltery or a Hurdy-Gurdy heard anywhere, as far as I can make out. But that, of course, is its great strength. The dark, creeping horror of Carson’s book informs just as much, if not more, of the music here than any string-centric twangling MacColl or Seeger collected on their travels (sidenote: I love string-centric twangling).
Take Jo Johnson’s ‘Deluded Them All’ (a lyric from Margaret MacArthur’s version of ‘The Fair Maid By The Shore’), for instance. This is a thick, cosmic rumble of textures, where soft, earthy shudders support pin-point, astral squeaks. Lines Of Silence’s ‘The Ghost Ship’ (originally recorded by Norfolk fisherman Sam Larner) sways and pitches above a black ocean of tremulous, shadowy sighs in exactly the way you would hope a ghost ship might, while Veryan’s take on the 18th-century English murder ballad ‘The Gosport Tragedy’ is like a ruined, minor-key New Age anthem, a quiet riot of deep despair.
Other pieces are like vast sound installations. I’m thinking here about Martyn Stonehouse’s Megalithic Transport Network – and let’s just pause for a moment here to fully appreciate what a colossally great name that is – whose contribution, ‘From The Birch Wood’, is as impassive and chilling as tainted air coursing through a prehistoric portal dolmen somewhere in deepest Cornwall. ‘Under Midnight’s Cloak’ by Giants of Discovery tells the story of “three crows on a twisted oak” and an “earth that’s cursed” above a droning swirl of colour and light, while Portland Vows’ ‘Furrows’ is a queasy, silty collage of wordless voices and a primal hum of evil.
Talking of which, Bradford’s own worriedaboutsatan’s ‘And You In The Lowest Depths Of Hell’ (a line taken from Shelley’s unfinished 1822 poem, ‘The Triumph of Life’, maybe? I’m too scared to ask them) is a stunning piece of crushingly bleak, Bible black electronica that finds (very welcome) room for a funereally funky, militaristic drum tattoo.
What I’m saying is, there’s a lot to enjoy here. Right at this moment I’m particularly taken by Field Line Cartographer’s ‘Salt, Salt Sea’ (after Elizabeth Pace’s The Mermaid, collected by Sharp over a century ago), which groans and glows and aches with a very mesmeric sort of sadness that drapes itself over you so completely that you genuinely feel its loss when, after nearly seven minutes, it finally dissipates into thin air.
Does any of it sound remotely like Fairport Convention? No. Should you do the decent thing and buy it immediately via Bandcamp for, like, £7? I have already, thanks for asking.
folkpolicerecordings.bandcamp.com
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Words: Neil Mason
GOOD STUFF #1
THE EMPRESS ‘Fortune Teller’ (Library Of The Occult)
I do like the ebb and flow we get in our unique musical microcosm. In the early days of all this, the byword for all things spooky was the Burning Witches label. Established in 2016 and lovingly curated by Gary “All Of Them Witches” Dimes and Darren “Burning Tapes” Page, they brought us some cracking releases, albums like the 2018 Record Store Day compilation ‘Communion’, standalone releases by the wonderful Isvisible Isinvisble as well as soundtracks such as Matt Glass’ ‘12 Hour Shift’ and Daniel Davies’ ‘Soeurs De Glisse’.
They wound things up over Xmas 2020 after spending four fine years as one of our very favourite labels. And then, as the mist cleared, a new pretender to the crown, Library Of The Occult, run by former Rough Trader staffer and Dream Division big chief Tom McDowell, stepped in to plug the ghoulish gap they left. Where one door closes another creaks open.
These days, some six years down the line, LOTO are a glittering example of how to run a DIY label. Sky-high quality across the board when it comes to output, faves round here include The Night Monitor’s ‘Horror Of The Hexham Heads’, anything by Tom’s Dream Division outfit (who double as the LOTO Electronic Orchestra), ‘The Cube Of Unknowing’s ‘Bog Summoner’, Kyron’s ‘Ascending Plume Of Faces’… I could go on, and on (and yes, I know, I often do). LOTO even has a dinky little shop in west London that they call their own. All power to them.
So this is the first of two LOTO summer releases that are essential purchases if you ask me. The second follows in July and concerns our old pal Hawksmoor, but we start here with this delightful romp from Pleasurewood’s Paul Elliott and Project Gemini’s Paul Osborne. You can almost imagine the sessions for these 10 cuts. The musicians, all neatly groomed goatees and extravagant moustaches, resplendent in turtlenecks and tweed jackets, passing round packets of Player’s No.6 while turning out track after track of future library music classics. And indeed, you check the notes and there we go - “paying homage to library labels like Sonoton, MP 2000 and CAM”.
This stuff is so funky, which is no surprise if you’ve heard either the hazy psyche rock of Project Gemini or cinematic vintage funk-o-rama of Pleasurewood. The bongo opening of ‘Blood Money’ comes on like ‘Sympathy For The Devil’, but the track soon descends into a squally floorfiller. There’s such a groove to ‘Close To The Edge’ with its tiptoe bassline line and bongo backing while the bubbly synths and squally guitars of ‘Switch Blade’ are a real treat.
‘Fortune Teller’ also comes complete with artwork from the fantastic Nick Taylor, who you will know as the man behind the Moonbuilding magazine covers. What is not to like?
libraryoftheoccult.bandcamp.com
GOOD STUFF #2
AUDIO OBSCURA ‘Dream States’
A new album from Norfolk-based Neil Stringfellow is always something to look forward to. His Audio Obscura project is a proper melting pot for the ideas that ping around in his head. There’s all sorts, from the Covid audio diaries of the ‘Self Isolation Tapes’ to his spoken word ‘Anthroposcene’ trilogy to the Chris Watson-inspired field recordings meets minimal dubby beats and a 303 of ‘Acid Field Recordings In Dub’. He is an interesting chap is Neil and as I say, his work is always worth exploring. Here he brings his “post-classical ambient minimal leanings” to the fore with an album that began life when Neil found a YouTube clip of Duke Ellington being interviewed sat at a piano. The interviewer asks him where he gets his ideas from to which the Duke replies, “I got a million dreams. That’s all I do is dream, all the time.” The interviewer says “I thought you played piano” to which Duke says, “No, no, this is not piano, this is dreaming”, which he demonstrates with a mellow improvisation.
“I couldn’t get the clip out of my head,” says Neil. “I thought about making an album that sounds like a dreaming piano... or taking the piano as the prime sound and building dream-like tracks around it.”
The Duke Ellington clip is sampled in full and starts the album and after that we head out on quite a journey.
“At the core,” says Neil in the release notes, “is a piano that is used as the main sound, but sending the MIDI data into modular synths and deep dives into effects chains, so the sound can go from being a being a piano to being quite warped and abstract fairly quickly. In the process I found some nice loops and a nice ambient layers of sounds on which to build a dream upon! It sounds quite tuneful in places but firmly within an electronica soundworld.”
It’s a proper Audio Obscura release. It doesn’t take long for the breakbeats and sub bass to kick in. The second track, ‘Teethgrinder’ duly obliges with the beats slowly swamping a delicate piano riff. There’s some curious titles afoot that all lean in to sleep inspiration. ‘People Say I’m A Dreamer’ is obviously the line from ‘Imagine’, although the track doesn’t go there, although you kind of hoped it might, while ‘Jvne 12th’ is a nod to Aphex’s lovely piano instrumental, ‘Avril 14th’. There’s ‘Rapid Eye Movement’, which with its sweeping cello feels a little Max Richter-like until a thunderstorm bass rumble and metal raindrop tinkles kick up, while ‘Breath’ is a rather delicate piano tinkler with swollen ethereal voices and a mournful violin. Very funereal.
There’s some great dreamy harp, the sort of sound you’d expect from old Hollywood to mark out a dream sequence, at the start of ‘Is It True We Only Dream In Black And White’, while ‘I Once Dreamt Of Building Castles In Space’, with its Teutonic beat, growling bass and piano line that ripples up and down, is a cheeky title for obvious reasons. Is it The Orb Neil is nodding at, doesn’t sound like it, or is it the record label named after The Orb track?
I’m not sure if it is a concept album. I suppose by definition it probably is, but as always Neil turns in a release that is equal measures thoughtful and very listenable.
GOOD STUFF #3
AGE OF CHANCE ‘BBC Sessions 85-87’ (Precious Recordings Of London)
No one sounded Age Of Chance, no one sounds like them now. They were great. I was working in a record shop in the 80s. One day an unmarked white label 12-inch turned up with one of the reps who just told us to play it. It was ‘Kisspower’, the now legendary sample-fuelled AoC remix of their cover of the Prince classic. It blew my mind. They made it in spare studio time in Sheffield’s FON Studio in November 1986. Rob Gordon, the soon to be Warp co-founder, had an Akai S900 sampler and they made good use of it. It’s a great story. I spoke to the band’s Geoff Taylor about for ES and it’s not hidden behind their paywall! You can read it here…
So ‘BBC Sessions 85-87’ collects… wait for it… their three BBC Radio 1 sessions along with their first two singles, ‘Motorcity’ and ‘Bible Of The Beats’, which have been unavailable for years. The singles are great. I clearly remember them both catching my attention. They sounded like the future to me. I particularly like second single ‘Bible Of The Beats’, which is as good a summation of the the beat-driven sound they were aiming at and indeed achieved with their 1987 debut album, ‘1000 Years Of Trouble’.
The sessions are two for Peel, October 1985 and June 1986, and one for Janice Long in February 1987. The joy of these kinds of collections is you can hear their progression across the sets. The first Peel session is nuts. It sounds like two records playing at once in places. They had the beats, and there are samples, spoken word intros to the tracks rather than anything more clever, but this was 1985, which was still a bit early for samplers. AoC were still very much guitar-based back then so tracks like ‘Mob! Hut!!’ come on with the fury of The Fall early doors and I love the insentient ‘Morning After The Sixties’
The second Peel session is epic AoC. By 1986 they were pricking interest with their inspired version of Prince’s ‘Kiss’ which they open the session with. This is such a brilliant, breakneck speed version. It shows off the sparse explosive sound that would become their calling card. It’s funny, whenever I think of ‘Kiss’ I think of AoC rather than the purple one. This session laid out their stall with their sloganeering track titles too. ‘Be Fast, Be Clean, Be Cheap’ is a great title, this 100 mile an hour romp would almost have been the demo of the version that ended up on ‘1000 Years Of Trouble’. You’d bet percussionist Jan Perry was glad when she got hold of drum machines.
I wonder what would have happened to Age Of Chance if Trevor Horn/ZTT had got hold of them. They had a similar-ish sound to Frankie and they could clearly write songs, you can hear it all in its rawest form here. They could’ve been huge, right?
The Janice Long session comes as they were getting to grips with samplers. It’s more mechanical/electronic and serves up something of blueprint for what was coming. There’s such a funky version of ‘Shut Up And Listen’, a two-hundred-mile-an-hour take on ‘Hold On’ complete with xylophone (which must’ve been a sample!) and a truly ferocious take on ‘Who’s Afraid Of The Big Bad Noise?’ – “Free your mind and your ass will follow” and all that. Total classic.
Love, love, love this. The music, the Designer Republic imagery, the day glo, the cycling clothes, all of it. Age Of Chance were so brilliant. They were a band ahead of their time, much copied and never really credited for the ground they broke. This is a great document of where it all started. Here’s hoping there’s some celebrations of their work being lined up as their debut album turns 40 next year.
preciousrecordingsoflondon.bandcamp.com
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THE ROUND UP’s ROUND UP
Did you know that DJ Food had his own label? It’s called Infinite Illectrik, it’s an online label that provides an outlet for “experimental turntable jams and cut up collages” for him and “like-minded artists working in these fields”. Mr Food’s main form of expression for this work is the turntable he custom-built with four tonearms. Yup. It’s an incredible-looking thing as you can imagine and the sounds it makes, often coupled with effects pedals, are pretty wild too. You can find that work on the label under various names – Multitrack Tonearm Unit, The Infinity Curve, Magnetic Cartridge Quarter, Quadraphonic Stylus Ensemble. Honestly, DJ Food is a demon. The amount of work he turns out, across disciplines too, I don’t think he ever sleeps. He makes me look tardy that’s for sure.
His label is, as I’ve just said, also home to “like-minded artists” and the latest offering is from one of those. Duplokit is New Zealand-based James Meharry, an “underground electronic musician… experimenting with techno, hardcore breakbeat and jungle” and Mike Hodgeson who also releases as Misled Convoy. The wild thing is Duplokit jam live on “customised turntables with multiple tone-arms”. I mean for one person to hit on the idea of attaching more than one tonearm to a record deck is mad, for someone on the other side of the world to be doing it too? That’s wild. So here we have ‘Warpdrive’, 13 cuts of wildness. ‘Triskelion Coils’ is brilliant. It sounds like Meat Beat Manifesto deep in the dub. The groove they get going is impressive. There is some seriously funky work here. The acid groove of ‘Under The Influence’ just gets so dark as it progresses, while the 10-minute ‘Raverstooth (Revisited)’ sounds like a long-lost early Prodigy outtake. Proper hands in the air, breakdowns, builds, the lot.
The whole album feels really organic somehow. The way it shapeshifts is fascinating, mesmerising, hypnotic even. You almost forget you’re listening to locked grooves because what these boys are doing is way smarter than that. It’s dance music Jim, but not as we know it.
I’ve been banging on about Bernard Grancher’s Astra Solaria label for a while. It is a total hidden gem of a label. Everything it does is spot on, which is little wonder if you know Bernard’s work. When it comes to other artists, he is a man with very fine taste. The latest outing, Domotic’s ‘Fourrure Sounds Vol 3 to 6’ is really great. Volumes 1 and 2 appeared in 2016 on the Paris-based Antinote label, which means these new volumes have been a while in the waiting. But it’s not sluggishness on the part of Domotic’s Stéphane Laporte. Oh no. “This is a massive one,” Bernard told me. “36 tracks on double cassette, but Stéphane sent 245 tracks to me and we had to choose. It was so difficult, everything was ace!”.
Bernard made good choices, of course, because this collection of pure, crisp, bright synthesis is lovely stuff. ‘Dinner Time (Slow Version)’ is great, a repeating pattern that sends sparks of electricity fizzing outwards. If ‘Taxi Driver’ ever got remade, the sinister ‘Drugged Cop’, with its electro edges and new wave ripples, is the sort of thing that would need to be on the soundtrack, while the melodic ripples and pulses of opener ‘Xerographie’ feel rather soothing. Sounds like ‘Pump Up The Volume’ is playing in the background too. How Bernard kept it to a 36-track double cassette I don’t know. It’s a cracking collection. I expect more volumes will follow.
Sometimes you get a release pop up where the accompanying notes really draw you in. Take Floormat Doormat whose notes for ‘Stop Thinking You Got This’ album, his fourth (I think, sure someone will tell me if I’m wrong) on Wormhole World, are very nice indeed. Most releases have a story to tell, indeed, I’d be worried if they didn’t. Everyone creates for some reason or another and I do like it when people lay that out. The notes for last September’s ‘Mexican Oregano’ were non-existent. Nothing, not one word, so perhaps Mr Floormat Doormat, Gary to his friends, is making amends here because these notes are extensive.
He tells the tale of how this record came about. I’ll leave you to read it, but I do like the story of the title. It’s two motivational postcards on the wall of his studio. “Stop thinking” and “You got this”. Love how he reads them as one. That’s the sort of thinking I like. And the notes continue on this theme. I won’t spoil it, it’s very good and well worth reading. It’s funny how democratised this has all become. In the old days it would have been the music press who found the artists somehow and told you these stories. Now the artist can cut out the middle man (and his printing press) and do it all directly via the release notes on Bandcamp. Not sure if that’s a good thing or a bad thing.
Anyway, it figures that someone who thinks like Gary also makes rather good music. I really like the the smooth beats and warm synth washes of tracks like ‘Act As If You Are Enough’ and ‘All Aboard’. They kind of sound like long intros that build and build and don’t quite break. There’s a feint flicker of Orbital here too, on something like ‘Can You Manage Terry’ (another word play title), it’s that kind of old school rave vibe gone slo-mo. Liking this a lot.
You get a lot of deja vu doing this. With the sheer volume of work that passes across my desk, I often feel like I’ve seen labels or artists names before, but draw a total blank when I go out searching for them. LOL Editions really rang bells, I recognised the plasticine heads on the album covers when Sculpture’s Dan Hayhurst dropped me a line to say he’s got a track on the label’s latest collection. And then the penny dropped. I covered the Manchester-based label’s release of ‘Aura Machine’ by SONAMB, who is 2020 Oram Award winner, Vicky Clarke. It’s satisfying when I remember stuff like that. I’m looking for a description somewhere of what LOL Editions stands for. Can’t find a thing. Dan calls it “outsider computer music”. I’d add “wonky sound art”. I expect somewhere between the two the truth lies. The Manchester-based label also does events, which look pretty great from the photos on their website. Do check them out if you’re in the area. Their website is here. ‘LOLTRAX003’ is their third volume collecting all manner of sonic attacks, some rather gentle, others not so much, in one place for your listening pleasure. And it’s fascinating work. Lossy’s ‘Accord’ is rather beautiful, washes of warm drones to and fro while all manner of fizzing and pinging and blipping whoosh this way and that. I think my external hard drive just unmounted and remounted itself, but it could’ve been part of Peter Maximowitsch’s hectic noise collage, ‘ion5-suipa’. I think the fact that Sculpture are featured here tell you much. They’re superstars in this world and ‘Dome Review’ featured here is about as disco dancing as they get. Always have time for this kind of work. A label to keep a closer eye on that’s for sure. Oh, and all proceeds from this release go to Mind, the mental health charity.
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.
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