Issue 5 / 16 February 2024
DIY electronic shizzle galore... Album Of The Week: William Doyle 'Springs Eternal' + interview + Track Of The Week: Warpaint + Castles In Space's IKLECTIK fundraiser + new release round-up + more...
With the release of Castles In Space’s fundraising 33-track compilation ‘This Is Not The End: Music For IKLECTIK’, it’s all been a bit hold the front page round here.
In January, the experimental music venue IKLECTIK were evicted from their brilliant venue in London’s Waterloo becoming yet another independent arts space lost to property development. While their home might have gone, they’ve got big plans for the future and have launched a crowdfunder to get them there.
Castles In Space are doing their bit with ‘This Is Not The End: Music For IKLECTIK’, which was completed yesterday and is out today. Time is very much of the essence, the crowdfunder closes on 1 March and if IKLECTIK haven’t reached their £55,000 target they get nothing. All the information you need is below in our Drip Feed section. Please take a moment to read our piece and, if you can, support the cause.
In other news, we’d like to welcome our very first contributor, Finlay Milligan. Fin was my co-pilot at some other music magazine and has an excellent pair of ears (and a very good beard). In this issue he serves up a bunch of Good Stuff recommendations. If you like his work, he has an excellent fortnightly-ish newsletter called Happening Again. Do sign up, tell him we sent you.
Happy Friday. Happy reading.
Neil Mason, editor
moonbuildingmag@gmail.com
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WILLIAM DOYLE ‘Springs Eternal’ (Tough Love)
William Doyle does this thing with sound that has always made me sit up and pay attention. It started back when he was East India Youth, whose debut album, 2013’s ‘Total Strife Forever’, was Mercury Prize nominated (no pressure, right?). The follow-up, ‘Culture Of Volume’, on XL Recordings, opens with a track called ‘The Juddering’ that quite actually judders. I reviewed the album at the time.
“A helicopter thud-thud-thud kicks in from somewhere over there, and swirls around you. Then the noise starts, an insistent white, bright fuzz. You’re under attack, a siren rises and falls. And then from nowhere, rich, soothing chords slowly begin to rise to fall as if sounding the all-clear.”
There’s more of that sort of sonic trickery throughout (listen to the closing ‘Carousel’ as loud as possible), but the record is also wall-to-wall with sublime pop songery. It’s a neat trick. Songwriting licks and sonic kicks. And it isn’t just ‘Culture Of Volume’, it’s all over his work.
With ‘Springs Eternal’, his latest offering, we’re now five albums deep and each one is better than the last. On top of that there’s a whole collection – another four albums – of instrumental, ambient output. So if this is your first encounter with William Doyle we can wait while you catch up. Let us know when you’re done?
… * wanders outside, kicks stones* … *has chat with neighbour* … *pops to shops to get something for tea* … *has an afternoon nap* …
Done! Great. We’ll crack on shall we? There is a definite progression from 2019’s ‘Your Wilderness Revisited’ through 2021’s ‘Great Spans Of Muddy Time’ and landing up here, with ‘Springs Eternal’, his most direct pop offering to date. But it comes with a twist. The record is a concept album of sorts, each song features a character, a narrator, a hyperreal version of William, “taking a panoramic view of the ecstasies and agonies of life in the 2020s”. Cheerily, each narrator is teetering on the brink of something, “global disaster, heartbreak, addiction, indoctrination and mental illness”.
It presents some weighty questions, which you’d imagine makes for a weighty listen. Nope. ‘Now In Motion’ is joyous, pure Talking Heads. Those keyboard squalls should have you stood up and cheering. The rattlingly tribal ‘Cannot Unsee’ is a proper feel-good belter, while the complex rhythms doing the heavy lifting on the rip-roaring ‘Surrender Yourself’ have been likened to ‘My Life In The Bush Of Ghosts’, which is funny. More about that in a minute.
There’s two track here, they come back-to-back towards the end of the record, that sum up William Doyle to a tee. The gentle melody and growing string swells of ‘A Short Illness’ give way to an electronic drone that builds and builds, judders even, into the sonic assault of ‘A Long Life’, an entirely instrumental track that swells to size XL before it in turn ebbs away.
There is a lot of that, a lot of ebbing and flowing, and you can even hear some actual water on ‘Castawayed’, which swings gently like a shanty. “It wasn’t until we were mixing the record that I realised how many water references there are,” says William. “I guess there’s a fluid border between our inner selves and the outside world that allows things to flood in.”
‘Springs Eternal’ is co-produced by Tunng’s Mike Lindsay at his MESS studio in Margate, which perhaps adds to this watery world they create. Lindsay is a perfect choice of foil, William Doyle and Tunng are closely related. There’s the same sonic mischief and the same melody making. I also notice that William is heading out on tour supporting BC Camplight, which is another good fit. Oh, Brian Eno, almost forgot. Well, he features here.
He appeared on ‘Your Wilderness Revisited’ as a narrator on the track ‘Design Guide’, reading a, well, design guide for the ideal suburban environment. Which is very Eno. Here William reveals he contributes “rhythm beds”. Two of which appear in ‘Surrender Yourself’, which is perhaps why is sounds so ‘Bush Of Ghosts’.
I’ve had an ear on William Doyle from the very beginning and with each release he rewards. With each release he serves up something worth investing in. And yet he still seems to be something of a best-kept secret and he really, really shouldn’t be. He should be a name on the tip of every discerning music lover’s tongue. Let’s sort that out shall we. [NM]
‘Springs Eternal’ is out now on Tough Love, grab your copy at toughloverecords.bandcamp.com
WILLIAM DOYLE
Filling ears with fine music since his days as East India Youth, his latest offering, ‘Springs Eternal’, is an early Album Of The Year frontrunner. We talk the joys of being an independent artist, the fine art of the start-to-finish LP and when Brian Eno is on your record does he bring his own synth?
Photo: Parri Thomas
Interview: Neil Mason
Hello William, how are things?
”Good thanks! My album is out this week so there’s an excitement buzzing around.”
Always liked the name East India Youth, do you miss it?
”I don’t miss it, no. I’m happy with my own name.”
Your debut album, 2013’s ‘Total Strife Forever’ was nominated for the Mercury Awards. That must’ve been mind-blowing?
”I was 23 when that happened so it’s quite mad to think of how much it impacted me. I finished making that record in the spare room of my mum’s flat, on some not very good studio monitors. The idea that a year or so later it was up for the prize is still incomprehensible to me.”
How are things different now? Do you prefer being an independent artist?
”I don’t know if I prefer it, per se. There’s less money to do things with and it’s much harder to get mainstream press coverage and radio play, which is all nice. I suppose there’s a bit more freedom to do things quickly, which I appreciate now, and I think I’m probably more suited to the idea of being a more independent/cult artist than a buzzy young upstart. I’m in this for the long haul.”
Every time you release a record I think it’s your best yet, is that how you feel?
”That’s very nice of you to say. I do think that to a certain extent, although every record feels so different to me that it’s hard to view them in the same continuum. There are things about ‘Great Spans Of Muddy Time’ that feel very successful to me, that wouldn’t have worked in the more hi-fi context of ‘Springs Eternal’ for instance. There’s always different elements of risk involved depending on the concept or the setting.”
You have a very distinctive/original sound, who/what has fed into that over the years, influence-wise?
”I absolutely love the album format and am very committed to making start-to-finish albums, even if that’s slightly out of fashion these days. But I think I probably listen to my entire music library on shuffle more often than anything and so I’m constantly shifting between stuff like Bartok to Nina Simone, Merzbow to Kylie Minogue. Everything influences me and there are no borders to taste.”
So to ‘Springs Eternal’. You missed the “Hope” off the beginning?
”You’ll have to decide if I did that intentionally or not. Or is the real title of the album ‘No Hope’?”
It’s kind of a concept album isn’t it? Or at least it has a theme. Care to talk us through the thinking a little?
”The theme of the songs are that the protagonist in each song – a hyper-realised version of myself – is on the brink of whatever their current affliction is. One character is on the brink of alcoholism, another is struggling with their mental health, another is consumed by global and climate chaos, and one of them is grappling with dying and being dead. It sounds like it might be a bit of a downer, but I’ve tried to make it the most upbeat and melodic music of my career.”
‘Now In Motion’, is an absolute killer. It’s very Talking Heads. Those keyboard squalls are showstoppers. You’re a Talking Heads fan, right?
”’Remain In Light’ is the best album ever made.”
Correct answer! And talking of keyboards, Brian Eno plays on the album? He was on ‘Your Wilderness’ as a narrator wasn’t he?
“I’ve known Brian for about 10 years now and I’ve done lots of work with him over time. He quickly recorded that spoken word intro for me after I texted him one day. A simple transaction.”
Which track/s is he on? What does he play? Did he bring his own synth?
”I’m sorry to shatter any romantic ideas, but we weren’t in the same room. And it’s not synth he contributed anyway. I was trying to write five new songs for the album after chucking half of it out and so, knowing that Brian is constantly making interesting rhythm beds, I asked him for some pieces to get me started on some new songs. He ended up sending about 26 pieces! The beat you hear at the start of ‘Relentless Melt’ and two of the rhythm parts in ‘Surrender Yourself’ are from this batch. Others didn’t make the cut but did give me a good impetus for new songs.
You’ve co-produced the album with Tunng’s Mike Lindsay. He seems like the perfect match for you. How did that come about?
”Mike and I are weirdly from the same small suburban town, the one I wrote about for my album ‘Your Wilderness Revisited’. We didn’t know each other then, but the coincidence soon became apparent when I was putting that album out. Weirdly we met at a time when I was renting the studio space that used to be his studio. So our ghosts have been following each other round all these years. It seemed like a good time to join forces.”
What does he bring to the party… metaphorically and literally, supposing you have parties?
”Mike brings a huge degree of fun times to both metaphorical and literal parties. This record would be very dreary without him, and so would my life.”
And talking of parties, how’s the wine side-hustle coming along?
”I’ve gone bankrupt so have moved into the business of selling records again. We are making a beer though, for real, with Gan Yam Brew Co. Stay tuned for more details.”
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WARPAINT ‘Common Blue’ (Rough Trade)
Warpaint celebrate their 20th anniversary in style with a seven-inch single, ‘Common Blue’ b/w ‘Underneath’, set for release on 22 March. This is the first new material from the LA quartet in two years, no mention of new LP yet, but you’ve got to imagine one is incoming. Their sound is such a heady new wave/psyche/dreampop/motorik brew, it’s intoxicating. This new track is no exception. It’ll brighten your week, no doubt. The band have also announced a West Coast headliner tour in May for those lucky enough to be reading this over there. And no, I’m not talking about our reader in Bristol. Hello Bristol.
Got an upcoming release? We’re all ears. Find us at moonbuildingmag@gmail.com
Words: Neil Mason / Finlay Milligan
GOOD STUFF #1
PARALLEL WORLDS ‘Fragmented’ (DiN)
You can never go wrong with anything from Ian Boddy’s DiN label, and this fourth outing from Greek synthesist Bakis Sirros continues that trend. I love DiN. They never shy away from ambient electronic music proper, and I love the fact that a label like this exists in Sunderland. Anyway. Sirros delights with ‘Fragmented’, all sci-fi ambience, glitchy electronic textures, and heavy rhythms. Those floating synth tones and bassy whirs on ‘For A While’? The sounds of an engine room in a starship. DiN say that’s “a certain John Carpenter” quality to the work of Sirros, and there’s more than a whiff of that on ‘Source’ (I’ve got no complaints). I’m a huge fan of ‘Vactrol Engine’ though. Those textured croaks and skitters echoing around repetitive synthlines? Like the field recordings from an alien planet. There’s only two copies on CD as well. Don’t hang about. [FM]
GOOD STUFF #2
DAVE CLARKSON ‘Dreamadelica (Music for Dreamachine)’ (Waxing Cresecent)
Another welcome release from Phil Dodds’ Waxing Crescent, another North East-based label delivering the goods when it comes to DIY electronic twiddling. There must be something in the water. This is from Scissorgun’s most excellent Dave Clarkson, and I’m a big fan of how psychedelic much of it is (no surprise given the title). Clarkson says the concept developed from creating music that fit the theme of a dream, as well as “a nod to the dreamachine device created by Brion Gysin in the late 50s”. What’s conjured on ‘Dreamadelica (Music For Dreamachine)’ is gorgeous. ‘Kaleidoscopic Technicolour Experience’ is, well, kaleidoscopic - synths, strings, keys, and machines all swirling in a hallucinogenic euphony. There’s an eeriness here as well, that reappears with force on the sinister ‘Doors Of Perception’, hisses, whines, and gurgles that go full nightmare. Get your fix now. [FM]
waxingcrescentrecords.bandcamp.com
GOOD STUFF #3
OPEN YELLOW CIRCLE ‘New Meridian’
Well, this is interesting. The line-up of Nottingham ambient pioneers O Yuki Conjugate, the quartet who made their classic 1994 ‘Equator’ album, regroup 30 years down the line for a new offering as Open Yellow Circle - took me a while to work out what was going on there, but I have had a nasty cold. ‘New Meridian’ has been described as “almost like normal music”, which is rich talk round these parts. It was recorded in East Sussex along the longitude 0° Prime Meridian, which seems to have added a layer of psychogeographical spook to proceedings. “The result,” they say, “takes listeners on a rain-drenched, open-top ride from Electronica Avenue to the drone caverns of Uranus, with various poorly signed ambi-dub diversions along the way.” It is rather effective on a wet and gray February day. Favourite track at the moment is the pots and pan tinkles of ‘Cold Stars’. [NM]
GOOD STUFF #4
LOTHAR OHLMEIER / RUDI FISCHERLEHNER / ISAMBARD KHROUSTALIOV ‘In The Gloaming’ (Not Applicable)
Isambard Khroustaliov is better known, to me at least, as Sam Britton, a rather brilliant composer whose work in the experimental arena, and especially in generative sound art, is well worth investigating. He’s an interesting - and busy - man is Sam. He plays in several outfits including Leverton Fox, Icarus and Fiium Shaarrk, co-runs the Not Applicable label and is co-founder of audio production house Coda To Coda, which is how I met him. They did the sound installations for a robot exhibition at The Science Museum which I was writing about. Anyway, what I’m getting at is anything that involves Sam is alright with me and this is no exception. Here he collaborates on a second improvised album with master saxophonist Lothar Ohlmeier on bass clarinet and prolific drummer Rudi Fischerlehner. Classy stuff. [NM]
GOOD STUFF #5
FELIX MACHTELINCKX ‘Night Scenes’ (Subexotic)
You may know Felix Machtelinckx from his time as Tin Fingers lead vocalist, as well as his work with Brussels electronic troupe, Arsenal. Here though the Belgian strikes out on his own with a debut outing. And what a debut to go solo on. He’s been around the block a bit, says here the LP was “recorded in Lithuania, Belgium, France, mastered in the US, and finally released in the UK”. This is electronic music proper as well - minimal digital editing with an pile of analogue gear at his disposal (there’s an equipment list available for those inclined). Four cuts here are taken from his work on the dance piece ‘Doggy Rugburn’, while others were originally created for a never-released film score. It’s all great stuff. Ambient soundscapes and delicate key melodies wrap around Machtelinckx’s gentle vocals, sometimes drifting, sometimes glitching, and sometimes incomprehensible. Take ‘Little Cuts’, strings reverbed within an inch of their life encircling Machtelinckx’s muffled voice, only growing in clarity towards the very end. An aural representation of waking from a dream. For a debut this is a cracker. [FM]
GOOD STUFF #6
LOST SOULS OF SATURN ‘Reality’ (Holoverse Research Lab)
Not content with solely being, in their own words, “multidimensional creative dissidents”, Lost Souls Of Saturn have been star sailing across the cosmic sea, took a detour through an event horizon and have reappeared as John and Frank with this second LP ‘Reality’. Or, that’s how I imagine it anyway. Whatever the case, ‘Reality’ is certainly out of this world, and then some. ‘Realization’ is like a signal from the deep, endless void picked up by a transistor radio, dark ambience littered with trills and beeps as vocals crackle into life. And ‘Metro Cafe’? Techno from the basement of a cantina somewhere in Alpha Centauri, thick electronic squelches and bassy rhythmic chuntering. The accompanying graphic novel looks fab as well, telling the orign story of John and Frank, with every panel animated in 3D when viewed through a tablet/AR headset. heck out the ‘Reality’ exhibition at W1 Curates. It runs until the end of February, and promises to be an “immersive art gallery experience”. Multidimensional indeed, and all of it exciting stuff. [FM]
lostsoulsofsaturn.bandcamp.com
GOOD STUFF #7
NAKAYAMA MUNETOSHI ‘Compass For Nychlf’ (Salmon Universe)
Salmon Universe is such a cracking little cassette label. Run by Richard Pike (Deep Learning, PVT, Forgiveness) and JQ. Do check out their recording artist Dangerwank. We really are at peak bandname, aren’t we? So SU017 is from Japanese artist Nakayama Munetoshi. The press material is a showstopper. It says ‘Compass For Nychlf’ is inspired by a dream about a boy on a exploration using backwards tapes, guitar loops and the like. And indeed it’s suitably woozey and rather lovely. Then it says “Munetoshi runs a hair salon in Osaka and primarily records music using five synthesisers set into the wall beside the cash register”. And that’s it. I mean, talk about half a story. This bears further investigation. Stand by. [NM]
A little housekeeping if I may. So many releases around today. It I love it when I stumble across a label I’ve not seen before that seems to have a whole world swirling around it. Discrepant is such a label. I arrived for Alexandre Centeio’s ‘Panorama’, which is some very surreal Portuguese hauntology with a very good sleeve, and stayed to root around. Sometimes you wonder how you miss these things. Discrepant is a London-based label that has been doing its fine work since 2011. There’s a proper gang, with sister labels Souk, Sucata Tapes, Pacific City Discs, Tenerife-based Keroxen and mini-label Farsa Discos. This is going to keep me quiet for a while.
Amon Tobin’s Stone Giants releases ‘Metropole Remixes Vol 1’ (Nomark) which features nine remixes of the same track, ‘Metropole’ from the ‘West Coast Love Stories’ LP. But this isn’t superstar remixers, it’s people from the Nomark Dischord chat. And yes, there is a volume 2 on the way featuring another 10 tracks. So that’s 19 remixes of the same song. I like their style. The label is celebrating it’s fifth anniversary this year too. Happy birthday.
Warmfield dropped us an email to let us know about the first single ‘The Blue Bridge’ taken from the album 'Warmfield-cum-Heath', which he says is “A parageographical exploration of the people, places, and folklore of the West Riding and its fringes”. Right up out street. Two short tracks, but both bode well. ‘The Blue Bridge’ fizzes with rich synths, while ‘The Whittling Well’ is a wobbly piano spooker. He tells us the next release is an EP about rugby league. Looking forward to that.
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STOP PRESS: IKLECTIK CROWDFUNDER
I’m sure I don’t have to tell you about IKLECTIK. Over the last 10 years, this magnificent London venue has been a beacon for experimental art, sound and technology. Tucked away from the hustle and bustle of nearby Waterloo, anyone who visited the aptly named Old Paradise Yard will know what a gem it was. They put on so many incredible shows. There were trees in the courtyard. Trees. And you could get a cup of tea at the bar. It really was quite a place.
In January they were evicted by their landlords. A successful, vibrant, vital venue lost to property developers. But rather than lick their wounds, directors Eduard Solaz and Isa Barzizza are determined to keep IKLECTIK alive.
They’ve got plans that includes the ART LAB project, a creative hub to host artist residencies, R&D programmes and workshops, and they are also planning to launch the NOMADIK programme that will see IKLECTIK rise again in like-minded venues.
To do all this they’re currently crowdfunding and need to raise £55,000 by 1 March. Which in the grand scheme of things is a modest ask. At the time of writing they’re a little shy of £40k. As is the nature of crowdfunding, it’s all or nothing. They either raise £55k or they don’t. We can’t let this opportunity pass us by. During their time at Old Paradise Yard, IKLECTIK welcomed over 60,000 people through their doors. If each one of those people gave £1…
You can find out more about their plans and give directly to the campaign here… crowdfunder.co.uk/p/iklectikfuture
… but there is another way to donate. Castles In Space were IKLECTIK regulars, either taking in a gig or using the venue for their own live shows and album launches. Howlround’s Robin The Fog was often spotted there, performing, manning stalls at various fairs or just hanging out. He suggested to CiS they should help the crowdfunder in some way. The result, pulled together in just two weeks, is ‘This Is Not The End: Music For IKLECTIK’, a 33-track compilation released today on Castles In Space featuring the good and great of the DIY electronic world.
“A few weeks ago, Robin The Fog suggested to me that we pull something together in support of the IKLECTIK crowdfunder,” says CiS big wig, Colin Morrison. “Team CiS were scrambled and the quality of the work from everyone involved speaks volumes about the respect in which Isa and Eduard are held from anyone who has ever had an interaction with them or played at their amazing venue, now lost to property developers. A little London oasis gone forever. We can't let that be the end of the story.”
Castles In Space have pulled out all the stops in a bid to help swell the IKLECTIK coffers with tracks from the likes of Gordon Chapman-Fox (that’s Mr Warrington-Runcorn), Field Lines Cartographer, Polypores, Scanner, Loula Yorke, Howlround, Jo Johnson, Lone Bison, The Mistys, Paul Cousins, Hilary Robinson, Jilk, Keith Seatman, Panamint Manse, Wealdham, Pulselovers, A’Bear and so many more.
It’s an unmissable collection, but it isn’t going to be around forever. The label plans on deleting it when the crowdfunder closes on 1 March. If you want it, and into the bargain help a very worthwhile cause, don’t hang around.
"We extend our deepest gratitude to all the musicians for their incredible contribution to this compilation supporting IKLECTIK after its closure,” say Isa and Eduard from IKLECTIK. “Your generosity and support during this challenging time mean the world to us. Your dedication to supporting organisations like IKLECTIK is truly inspiring and reminds us of the power of music to unite us all.”
“Time is tight,” adds Colin. “The crowdfunder is an all or nothing deal. If they don't make the target, all money will be returned and we will have lost something very special. Please give what you can to ensure these excellent people can continue to do their exceptional work.”
‘This Is Not The End: Music For Iklectik’ is out today. Every penny raised will go into the IKLETIK pot. Remember, the album will only be available until 1 March when the Iklectik crowdfunder closes.
HOLE LOT OF LOVE
I’m not entirely sure what the Rabbit r1 is, but I definitely want one. Designed by Teenage Engineering (look at it, of course it is) it’s a, well, it’s erm… OK, so the aim of Rabbit, explains founder and CEO Jesse Lyu with a keynote speech on their website, is to create the simplest computer, something so intuitive you don’t have to learn how to use it.
It’s one of things you don’t realise is a problem until someone points it out. Which is either genius, or just genius marketing. So the problem says Jesse is phones are no longer fit for purpose. He points out the top ranking apps are all entertainment based and says smart phones have become the best devices to kill time instead of saving time. He’s not wrong.
The solution apparently is to break away from the smart phone app-based operating systems. As far as I understand it, Rabbit have built an operating system that is universal. It sits on top of, well, everything, and via its chatty AI (there is also an on-screen keyboard) the r1 just gets stuff done. On a basic level you can talk to it like a chatbot, ask it for info and the like and it can play music, but it can also book you an Uber or plan and book entire trips. You can teach it how do stuff, like use Midjourney, and it does quirky stuff too, like using the onboard camera to assess what’s in your fridge and suggest recipes.
For $199 it is pretty mind blowing. You also figure these people are just getting started. Shipping Easter 2024. Want.
KARL LARKS
Talking of Kraftwerk as we were last week (Not to worry if you missed it, sure we’ll mention them again), it only seems right that I mention this. Mainly because it’s so weird. I’m really not sure what to make of it. Karl Bartos’ ‘The Cabinet Of Dr Caligari’ (Bureau B) is film music and sound design for the the 4k restoration of Robert Wiene’s classic 1920’s thriller. So far so good. Kraftwerk had ‘Metropolis’ on ‘Man Machine’, which was inspired by them watching Fritz Lang’s 1927 classic, but here Bartos has soundtracked the whole film and that includes sound effects like creaking doors, footsteps on gravel, pages turning in a ledger and fragments of conversation that are synced to the action and no included here. I’m thinking car doors clunking shut and heading off down the autobahn to a blistering soundtrack, right?
Well, not quite. In David Buckley’s sleevenotes he says Bartos was “recreating pieces he had written as a young classical musician in his pre-Kraftwerk days”, which explains much. Sure it makes a lot more sense when you can watch the film too, but this is one weird album. It sounds like ‘Switched-On Bach’, while tracks like ‘Full Of Life’ and ‘At The Funfair’ are touched by the schlarger. I know I keep saying it, but it really is weird. Sometimes being in one of the greatest acts of all-time gets you a pass. Sometimes it doesn’t.
You see, this is what happens when Ralf isn’t in the room. That said, there has been talk for a while that the mothership has been readying the first two Kraftwerk albums for bumper reissues so brace yourself for more this sort of madness. Prog ahoy! When are they coming out? Some wag suggested around the same time as the new Kraftwerk album. Hold on, where’s the rolling on floor laughing emoji.
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A MESSAGE ABOUT OUR PRINTED FRIEND
The current issue of MOONBUILDING is full to the gills with the good stuff. On the cover, star-in-the-making Maria Uzor, we profile label-of-the-moment quiet details, there’s an incredible interview with Captain Star creator Steven Appleby, and Ghost Box’s Jim Jupp gets busy with our There’s A First Time For Everything questions.
We review a big pile of releases from labels including Castles In Space, Woodford Halse, Persistence Of Sound, Assai, Ahora, DiN, Werra Foxma, Ghost Box and many more. There’s a column from The Orb’s Alex Paterson and the world-famous Captain Star cartoon strip.
This issue’s CD is ‘The Moonbuilding Miscellany – Volume One’, which is put together by CiS supremo Colin Morrison. It’s a belter featuring tracks from the likes of Lo Five, Lone Bison, Twilight Sequence, Ojn, NCHX and more, have a listen below…
Moonbuilding Weekly is a Castles In Space publication.
Copyright © 2024 Moonbuilding
Another Friday, another issue of Moonbuilding Weekly. Hope you enjoy the issue. I'm here all morning if anyone has any questions...
Neil hi. I would like to pay for Moinbuilding, but I can’t work out how to do it. The “manage subscription” option will not work on my phone app. What am I missing ? Tom