Issue 51 / 31 January 2025
Your essential DIY electronic music beano – Track Of The Week: Lucrecia Dalt + Good Stuff: 30 Door Key, Numün, Buried Treasure's Arcadia Library compile, The Music Liberation Front Sweden + more!
I think I’ve said before about how releases congregate around certain dates. We arrive at our first pile-up of the year in the shape of 31 January. Hold onto your wallets, there’s so much stuff out today and so much great stuff too. We have some absolute crackers lined up, including an early-doors Album Of The Year contender.
A bit of housekeeping if you don’t mind. I’m trying hard to keep Moonbuilding Weekly free and see it supported by advertising. There are other options. We have a decent level of pledged support, certainly enough to turn the paid subscriptions feature on, but I’d rather be exposing all this fine music to an increasingly larger audience. So if you have something to advertise, do get in touch. You’ll be supporting your work by supporting ours. And if you’re supporting us, we’ll support you. Very neat and tidy.
BNDCMPR is still up the swanny, but several very helpful readers have pointed in the direction of Buy Music Club, which does Bandcamp playlists, hurrah, so I’m giving it a spin today. See below. Let me know what you think?
That’s me then. Happy Friday. Same time next week? Good good.
Neil Mason, editor
moonbuildingmag@gmail.com
Issue 51 Playlist: Click here
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Photo: Camille Mandoki
LUCRECIA DALT ‘Cosa Rara (ft David Sylvian)’ (RVNG Intl)
Yup, I did that too. Total double take. FT DAVID SYLVIAN! Holy shit. He doesn’t do stuff like this. It’d be fascinating to hear how this collaboration came about, but he doesn’t do interviews either so we’ll never know.
Lucrecia Dalt is a Columbian electronic artist, very good she is too. Her 2022 ‘¡Ay!’ album, also on New York’s excellent RVNG Intl, was The Wire’s album of the year. Make of that what you will. Electronic Sound called it “gloriously oddball stuff, sensual and surreal”. She’s a real mix of the sounds that seeped in during her formative years growing up in Columbia, the rhythms of mambo, salsa and bolero, meets swathes of modular synth and her haunting vocal.
A couple of years back I heard Sylvian was, apparently, a fan. The evidence here suggests he really is. This new track is incredibly good. You have to love the way it gives way for the great man’s appearance. His voice really isn’t what you expect, he sounds like Tom Waits on his way to Iggy. Very gravelly, totally cool.
Sylvian is fascinating, made all the more so by his almost total illusiveness. There was a 6Music “interview” (it was an audio diary, no questions were asked) aired on Mary-Ann Hobbs’ show in October 2022, which they crowed was his first dialogue with the media for 14 years, which wasn’t quite right. He did a very detailed email Q&A with me for Electronic Sound in 2018 around the reissues of ‘Plight & Premonition’ and ‘Flux & Mutability’, the classic albums he made with Can’s Holger Czukay in 1983. They are incredible if you’ve not heard them. That piece is here (behind a paywall I’m afraid). And he back-channelled some very useful material when I was pulling together a Japan cover for ES in 2019, kindly answering some questions about working with Moroder (he wasn’t keen) and offering up a long-lost blog piece by one of his friends as context. That Japan cover, by Jeremy Allen, featured the first new interviews with all the surviving members of Japan in a million years. So stick that in your pipe 6Music. It’s here if you’re interested.
But anyway, I digress. Back to Lucrecia Dalt. The label say this track is “to be followed by some additional, and surprising, music” before the full ‘Cosa Rara’ EP on 28 February. To be more surprising than David Sylvian turning up is going to take some doing. I will certainly be keeping a close eye.
Got an upcoming release? We’re all ears. Email moonbuildingmag@gmail.com
Words: Neil Mason
GOOD STUFF #1
30 DOOR KEY ‘A Warning To The Curious’ (Subexotic)
Working as 30 Door Key, Palermo’s Alessio Bosco is a proper best-kept secret. Perhaps it’s to do with there not being much to go on, a track on a Russian Library collection and a five-track seven on Dom Martin’s Feral Child (always a sure sign of quality when Dom gets involved). But all that might be about to change, because this double album is going to blow the doors off. ‘A Warning To The Curious’, taken from the title of an MR James ghost story, has a sound that very much comes from somewhere else. Alessio describes it as “the TV channel of an elsewhere, transmitted by a ghost frequency”.
It does have that Ghost Box haunty feel, but this is coming from somewhere else. There is a nostalgia at play for sure, but it’s not a retro record. There’s a wonderful list of influences on the release’s Bandcamp page where Alessio reveals the “many-splendored lexicon of dizzying, sometimes arcane preoccupations” he draws upon. It’s one heck of a list, which I’ll leave you to pick over. It’s all there and reminds me of the famous Nurse With Wound list (Yes, Nurse With Wound are on the list *world folds in on itself*). You’ll be reaching for the search engine of your choice more than once while digesting all this – here’s just a snippet… the lady in the radiator, grainy films, dark clothes, Kraftwerk, Factory/Warp/4AD, ‘Inside No 9’, Young Marble Giants, Weatherall… there’s a lot going on here, clearly.
I love the rich, warm bass rumble that permeates throughout, giving the record a real warmth. ‘Hozra Too Da Kurluz’ is like a weird pop song squashed through a squidgy acid filter. With pots and pans drumming too. The raspy synth that ushers in a belting sequencer line on ‘Getting Out A Gutter’ is like someone giving you a proper shove downhill on wheels. It’s a track that lurks in the dark corners of the dancefloor, it’s beautiful and rich and full bodied and not nearly long enough. That it can be followed by the folky swirls and whirls of ‘A Week Of Wonderwav’ makes the record all the more satisfying for its swerving all over the place. A lot of the tracks are sketches, a couple of minutes mining this rich soundworld, like the repeating twang and melodic rattle of ‘Thrasee’, while the closer, ‘Kynna Maer’, goes entirely the other way. It’s an epic, clocking in over the seven-minute mark.
I don’t know how many times I’m going to say this in 2025, but here is our first Album Of The Year contender. Yeah, still only January (just), but Loula Yorke’s ‘Volta’ came out last Jan and nothing topped that for the rest of the year.
GOOD STUFF #2
NUMÜN ‘Opening’ (WIAIWYA)
I’ve had this, the third album from New York trio Numün, for a while and it’s been getting a very regular outing in the Moonbuilding office. A cleverer person than me (hello John!) describes them as “celestial ambient country”, which really is as good at that sounds. In fact, one of Numün’s number is ambient country pioneer/Grammy-nominated multi-instrumentalist Bob Holmes, whose ‘Ambient Country’ podcast is such a great listen should need an intro to these things. Find the show here.
The band themselves are none to shabby when it comes where they should be filed. The list reads Ambient Psychedelic, Rural Mystique, Cosmic Pastoral, Eastern Komische, all genres I would be very happy to investigate in some depth. Ambient psyche is, you’d imagine, already a thing. This lot wield a serious arsenal of instruments. Alongside the standard issue piano, bass, guitar, synths and various electronics, they’ve expanded their line-up here bringing in Victoria Lo Mellin on flute and bass flute and Willa Roberts on violin and vocals. There’s also a gamelan in there, which as we all know is Balinese percussion orchestra, metallophones, chimes, xylophones, gongs and the like, but hands up who knows what a cumbuz is? They’ve got one of those too. I’ll tell you what it is in a bit.
The opener, which is also helpfully the title track ‘Opening’ (I mean where else does a track called ‘Opening’ go other than at the start?) is a glorious calling card and sets the scene perfectly with its sweeps of shimmering strings, mournful piano chords and a flute dancing a melody over the top. ‘Heavenly’ is great, an echo of Ry Cooder twanging in, a drone building the drama and the whole track working itself into a frenzy. I love ‘Cragueler’, which starts off sounding like it’s some sort of speaking in tongues incantation to rid evil spirits before its engulfed in electrical swirls and all manner of bangs and bumps, growing more sinister with each ticking second. By the end it all gives way to the most beautiful repeating motif and bright xylophone-like sparkles.
Part of the joy of all this is huge variety of work that passes across my desk each week. This week’s selections seem especially rich and varied. This is a brilliant, brilliant record. Oh right, yes, nearly forgot. A cumbuz is a fretless Turkish 12-string banjo. Of course it is.
GOOD STUFF #3
Various Artists ‘Vorsicht! Digital Themes From The Arcadia Library’
(Buried Treasure)
So here’s the thing. When certain people release stuff, and in this I’m including Buried Treasure’s Alan Gubby, the very first thing I ask myself is, “Is this a real thing or is it an invention of a very vivid imagination”. I mean it’s not the daftest question in the world. Abul Mogard wasn’t really a retired welder from Belgrade was he? Nor was Stefan Bachmeier the German author of sci-fi fiction who also recorded dozens of concept albums to accompany his written work. It’s often tricky to figure out what’s real and what’s not in this wonderful world of ours. Take for example Buried Treasure’s 2017 release of work by Yuri Morozov. “Banned by the KGB for its esoteric content and references to forbidden spiritual texts,” says the accompanying text, “Yuri recorded over 46 albums between the 1970s until his death in 2006. Only available on cassettes passed around in secret within the Russian music underground until now.” Sounds pretty unlikely, right? Totally real.
So who knows? Alan’s notes for this various artists collection start like this: “While teaching in Oxfordshire, just before the pandemic, I was alerted to a dusty cupboard above our college theatre concealing 200+ library music CDs”. I mean, the odds of Alan Gubby walking into a college and there being a lost haul of library music CDs in a dusty cupboard must be off the scale. I was ready to call foul on this one, then I did my own digging around. You know what? Totally real.
Arcadia was the music library and they had various offshoots. Their Cosmos library covered “a large spectrum of musical subjects from current affairs, action and adventure to sport, childhood and ancient musical instruments” and it was from here that Alan’s haul came. Between the late 80s and early 90s, the Arcadia Cosmos library released 100 discs with must-have titles like ‘Pleasure’ (you shudder to think really), ‘Klassik 1’ and ‘Klassik 2’ (sadly not a double), ‘Eastern Bloc’ (would like to hear that) and so on. This release is but a tiny snapshot of the interesting corners that Alan unearthed. And bloody hell it’s good. As is the case with a lot of work in these libraries, who the composers (and indeed the players) are is often a mystery that has been lost in the mists of time.
Alan admits that he didn’t recognise any of the names of the composers and hit dead ends in his bid to try and find them, saying “more questions than answers remain about the library's provenance”, which is what I sort of saying in the first place. In particular, there’s several really brilliant tracks from a “David Beast” who Alan could find no trace of. “Did Kraftwerk engage trans-European lawyers after hearing the David Beast track ‘Endurance Test’?” asks Alan in the notes. “Was Sylvia Sommer deliberately channelling vintage radiophonics by John Baker?” It’s brilliant stuff, but as Alan says, “Proceed with caution”. We would of course be delighted/fascinated to hear from anyone who can shed light on any of this magnificent long-lost work.
GOOD STUFF #4
THE MUSIC LIBERATION FRONT SWEDEN ‘Le Beat Route’ (Static Disc)
It was only last year that I first encountered the work of The Music Liberation Front Sweden. About as much info as I could glean was that it was a guy called Michael Evill, who set up Shambotic Recordings. I came across him via a tape release on the brilliant Luddite label and it struck me immediately as something that was a rung or two up. I’ve since discovered that MLFS started out in the 90s as a collaboration of various artists on Michael’s Electronic Watusi Boogaloo Recording Company label. He says the idea was “to make art with no boundaries taking in and developing old styles in to new forms”.
With influences from Felt to Philip Glass, the music, he tells me, is mix of new and old work that originally uses real instruments “sampled and twisted several times”. The final product is never finished as it is always open to change. It kind of reminded me of how Normil Hawaiians work, rolling old work into their new. It’s a fascinating take and one that clearly works well for Michael. “We were never bound by any want of fame or recognition,” he explains, “and made our own circles and networks never excluding anyone who would wish to be involved.” Sounds great, wish I’d been following them from the start, glad I’ve found them now though. And so will you be.
So Michael is releasing two albums on the excellent Tokyo-based Static Disc, of which this is the first. The second, and these are all cassettes (home dubbed, handmade packaging), is a live album recorded at various shows around the turn of the century, called, wait for it… ‘Turn Of The Century’. There’s also something coming up on Bernard Grancher’s Astra Solaria label in Feb too. It feels like a kick-starting of something doesn’t it?
As well as Michael kindly getting in touch, I also heard from Takuma Ebisawa at Static Disc. Takuma told me the story of how he met Michael. He’d bought a cassette released on the label (‘Aether’ by Ogle, so he also has impeccable taste) and dropped Takuma a line about maybe releasing his work, sending over a couple of demos (these if you’re wondering). Takuma immediately felt his music was a good fit for the label. As they got to know each other a little, Michael revealed he was Electronic Watusi Boogaloo Recording Company and a lightbulb went off in Takuma’s head. He had a Japanese compilation CD of the label from 2001 (This one, yours for £2.82), “I knew his music before I met him and loved it,” he told me, “so it’s an honor and a very meaningful thing to have had the opportunity to work with him this time.” Some things are just meant to be, right?
So, to ‘Le Beat Route’. Look at that artwork will you, how can you not want to own that? First track ‘I Woke Within A Dream’ is the scene-setter, it’s like a sound factory in full flight, blips and bleeps, whistles, clinks, plinks and plonks all underpinned by a mechanical groove. ‘The New Sweden’ is fantastic, a runaway big beat/acid mangle up that sounds like it’s being wrestled to keep it under control. Would’ve been right at home on Skint, alongside the likes of Space Raiders, Indian Ropeman and Lo-Fidelity Allstars. ‘I Am A Tatty Bunting’ is interesting in light of Keith Seatman’s ‘Sad Old Tatty Bunting’ album. No connection I assume. ‘What A Grand Place’ really goes out on a limb, like some lo-fi indie twang band, all out of tune riffs and distorted vocals, while the cranky groove and urgent bustle of ‘Stars With Scars’ comes on like a room full of synths on the blink.
Michael talks about how many of the tracks are “built of shifting repetition and field recordings of the time and place embedded within them”. You can hear that in many of these tracks, how the rhythms repeat over and over building a sonic wall as the tracks grow. The release is described as a “montage of sounds that will make you feel as if you are experiencing sonic time travel”. It does do that. There’s a definite 90s sheen to it all, while ‘And Another Stories’ is the sort of thing that should’ve been a hit in the 80s. Think The Beloved, it has that kind of sleek vibe. We started off here talking about how 30 Door Key were a best-kept secret, think we’ve found another one, and one that’s been kept for far too long at that. This is great stuff.
GOOD STUFF #5
ADAM CONEY & RICAHRD PIKE ‘Driftingland: For Guitar & Piano Vol. 1’ (Trestle)
This caught my eye as it involves Friend of Moonbuilding Richard Pike wearing a hat we don’t usually see from him. We’re more used to him curating weird shit releases on his Salmon Universe label and cooking up scores for TV dramas and the like. It says here he is a “composer, producer and label curator at the intersections of experimental, ambient, techno, jazz and hybrid orchestral”. That’s quite a Venn diagram, perhaps we should draw it one day. Anyway, this is a first collaboration between Richard on piano and Adam on guitar. There’s a great press shot of them looking like dudes. You’d never guess what sort of music they made together looking at that photo. Anyway. The project came about when Richard found himself drifting towards the piano in late 2021, filming his improvisational sessions whenever he could and uploading the results to social media. His pal Adam asked if he could jam along, remotely at first. Their debut attempt, ‘Europe At Dawn’, appears on the release. As they live near each other in Kent they began to meet up to put down their “real-time compositions” in person and Driftingland was born. Gawd it’s lovely. What I especially like is being able to hear the room. I love how you can hear Richard pedalling at the end of tracks (listen to the end of ‘Brighter Silence’, lovely) or how you can hear the room resonating. They’ve deliberately worked like this. They say there’s little effects or post-production “only the two pure acoustic instruments can be heard, creaks and all, the silence and the air of the room as important as the choice of notes”. Yeah. You’d hope it’s called ‘Vol 1’ for a reason. Like Daniel Miller and Gareth Jones’ Sunroof, we can hopefully look forward to hearing how this project grows and develops through further releases.
GOOD STUFF #5+
FRÀNÇOIS AND THE ATLAS MOUNTAINS ‘Âge Fleuve’ (InFiné)
I’m such a fan of Frànçois And The Atlas Mountains, they are so deliciously French it’s hard to resist their charms. They were formed in Bristol in 2005, which is hard to believe listening to them. Not the 2005 bit, the Bristol bit. The handiwork of Frànçois Marry (Frànçois writes the songs, the music is “arranged by him and his sonic friends”), ‘Âge Fleuve’ is a sixth studio album and is “deeply influenced by the loss of his father during the pandemic, exploring themes of memory and heritage”. Not that you’d know. It’s so uplifting, so utterly joyous. I mean, it’s all in French and my level is pure get-by-on-a-day-trip-to-Paris, but…
The opening track, ‘Ou Mène La Nuit ’ is irresistible. There’s a minute-long intro before it erupts into a groove machine of a track. That melody, that dancefloor bassline, and then it steps up another gear. Wonderful. The 80s sax solo on ‘Adorer’ is corking, full of echo, like Hazel O’Conner’s ‘Will You’, and on ‘Le Fil’ there’s what sounds like a distant recorder solo, played by les enfants à l’ecole. I had to listen to that one several times before moving on. ‘Jeune Versant’ is so, so good. It starts all ballard-y, slow piano, pensive guest vocal from Malik Djoudi and you can hear this driving rhythm sneaking up underneath, like someone left a window open. And then it arrives around the halfway mark, it’s in the room, that driving beat, a thudding bass drum and with a minute and half to go everything stops, pauses for a breath and BOOM. Come on people, on your feet. This is a band worth cheering about.
There’s just such an easy cool about Frànçois And The Atlas Mountains, it’s almost like you’ve just stumbled across them in some smoky back-street Parisian bar (yes, I know, no one smokes anymore, but they do in my discovering-bands-in-smoky-Parisian-back-street bars daydream). It takes a lot of work to sound this effortless, so at ease with your art. Love it.
https://infine-rec.bandcamp.com/
THE HANDY ROUND UP
Like I was saying last week, world domination can’t be too far off for quiet details. They only had a new release last week and ASC’s ‘Tales of Introspection’ is the second main label outing of the year… and it’s only just the end of January. Carry on like this and they’re going to meet themselves coming the other way. ASC is the titanic James Clements. Based in California these days, he started out as a drum ’n’ bass producer with one of his very early tracks getting signed to LTJ Bukem’s Good Looking label. His Bandcamp page is bewildering such is the depth of his back catalogue and the diversity of work. I love how artists like this, renowned for a harder edge, can turn their hand to really beautiful ambient work. I’m thinking of Plant43’s Emile Facey, who let’s not forget is a Tresor resident, and Luke Sanger who can turn dancefloors inside out. Anyway, James is no slouch when it comes to the more mellow side. quiet details say ‘Tales of Introspection’ is ASC as his “most ethereally emotive, an incredible exploration of his creativity we both agree feels like a major milestone in his work”. The tracks here are lengthy, letting you fully immerse in this rich soundworld. Especially loving the dark brooding Vengelis-y ‘Realisations’. Fine work, sir.
quietdetails.bandcamp.com
Kim Halliday’s ‘Dream’ is a hardback book that includes music, words and pictures. Which is a nice way of doing things. Usually the book would come last, not exactly an after-thought, but a book that comes down the pecking order from the music. Not with Kim. “Inside the book is a QR code that links to a webpage, where there’s an audio file for each chapter,” explains Kim. “Each chapter is a track, as the stories were driven by the music, which is based around vintage 1980s synths and drum machines from Geoff Barrow’s studio in Bristol.” Geoff Barrow’s drum machines! Someone will have that as band name at some point. The book features the text of the stories, all in a cranky old typewriter font, which of course is right up my street. The stories are all about dreams, surprise, that Kim says are a “mixture of fact, fiction and wild fantasy ranging from impossible cities through to succubi”. Kim mentions ‘Chanctonbury Rings’, the spoken word Ghost Box project with writer Justin Hopper and folky Sharron Kraus and Belbury Poly as a peg to hang your coat on. It also lives in the same ballpark as Belbury Poly’s ‘The Path’, which Justin Hopper narrates too, as well as Bob Fischer’s audio drama imprint, Mulgrave Audio, who are three projects deep. Kim, an award-winning media composer and musician, describes what he does here as “music-driven story telling” and he very much holds his own in among that lot. The sound design is rich, the stories are really good, compelling enough to keep you listening, like I did, when I really should’ve been doing other things.
kimhalliday.bandcamp.com
In our first newsletter of the year we featured Minneapolis-based environmental sound artist Matthew Hiram, whose ‘Earth Speaks At Gold Beach’ captured the might of the Northern Pacific Ocean as the waves broke on the shore in Oregon. As Hiram he “explores ecological themes through organic field recordings, intricate electro-acoustic textures, and meditations on our planet’s fragility”. In other words, as well as the pure field recordings he also makes music. ‘Green Green Earth’ is a peaceful mediation, inviting listeners to “reconnect with the natural world”, which is something we all need to do from time to time. For an ambient outing it’s brief clocking in around the half-hour mark. It’s a lovely release to pop on and just take 30 minutes to. I’ve done just that a few times this week, works a treat. And you’re not, as is the case with a lot of ambient releases, sat there for half the night. There’s some proper Eno-like vibes on a track like ‘Canopy Song’, which nods on the direction of ‘Another Green World’. Matthew says all this is best enjoyed on headphones as it employs “spatial mixing techniques and stereo signal processing”. Or, as we like to say, sounds really good.
matthewhiram.bandcamp.com
A quick mention for a very worthwhile fundraiser in the shape of the various artists collection ‘For LA Vol 2’. ‘Vol 1’ appeared a week earlier, which gives you… hang on, it’s a lot of music… ‘Vol 1’ has 34 tracks of previously unreleased material from composers in the ambient, electronic, and modern classical communities, while ‘Vol 2’ clocks up 31 tracks, including rather excitingly, two unreleased recordings by the late great Ryuichi Sakamoto. Compiled by Hollie and Keith Kenniff, a couple from Maine, who write music for film, TV and ads and release music variously as Mint Julep, Helios and Goldmund, they’ve done a great job here. There’s names you will recognise – Ninja Tune’s James Heather, Patricia Wolf, Glasbird, Room40’s Lawrence English, our own fieldswefound (the qd world dom bid gathers more pace), but also plenty that will be new to you, which is half the fun of all this. Proceeds are going to the LA fire relief efforts, in particular We Are Moving The Needle’s LA Wildfire Relief Initiative, which is running a microgrants fund to help support producers, engineers and creators affected by the fires and GiveDirectly, which is supporting low-income families in LA who are directly impacted.
heliosmusic.bandcamp.com
Last but certainly by no means least comes everyone’s favourite fridge tinkers General Magic. I get a lot of grief about listening to stuff that sounds like kitchen appliances, mainly washing machines and dishwashers (mine are both very musical I will have you know, dancing to them is not unheard of in our house). The Austrian duo’s debut 12-inch, and the debut release on Editions Mego, was a collaboration with Pita in 1995 called ‘Fridge Trax’, a record where all the sounds were generated by the buzzing and humming of an actual fridge. Oh yes. There have been various releases since, all bonkers, “electronic mayhem” someone called it. Here they make a return to the fray with ‘Bosko’ (Editions Mego), a full-length that “offers a fresh new vision of perplexing funk and robotic punk”. The accompanying notes are excellent, you should read along while listening to the madness unfurl.
generalmagic.bandcamp.com
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A MESSAGE FROM THE MOTHERSHIP
***MOONBUILDING ISSUE 5 IS OUT NOW***
Bloody hell! Will you look at that? MOONBUILDING, Issue 5, is a scorcher. On the cover, depicted by the untouchable Nick Taylor, is the awesome Polypores. In our free-wheeling chat we get right under the hood of Stephen James Buckley’s musical operation, offer up a listening guide to help you safely navigate his extensive back catalogue and we also have an whole new Polypores album exclusively for your ears.
Yes, we are giving you a not-available-anywhere-else new album called ‘The Album I Would Have Released In An Alternate Universe’, which happens to be the sister recording to his recent Castles In Space opus ‘There Are Other Worlds’.
Want to try before you buy? No bother. If you’d like an extract from our Polypores cover feature interview where Stephen Buckley talks about his formative influences, which probably aren’t what you’d image, you can do that here… moonbuilding.substack.com/p/issue-28a-26-july-2024
Elsewhere in the issue there’s a profile of our new favourite label Mortality Tables, Pye Corner Audio 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, including Loula Yorke and Warrington-Runcorn New Town Development Plan. There’s a column from The Orb’s Alex Paterson, which starts off about Jah Wobble and ends up about Andrew Weatherall, and an all-new instalment of Steven Appleby’s brilliant Captain Star cartoon strip.
This issue also features a pile of great book reviews (that’s great books, reviewed, rather than the reviews being great, although they are pretty good). There’s a cracking chat with Justin Patrick Moore, the author of ‘The Radio Phonic Laboratory’, and a bonus chinwag with the world’s finest music journalist, Mr Simon Reynolds.
The virtual shop doors are open at moonbuilding.bandcamp.com for your purchasing pleasure. This magazine ain’t going to buy itself.
Moonbuilding Weekly is a Castles In Space publication.
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thanks for including qd29 asc, loads of good stuff this week!