Issue 53 / 14 February 2025
Your essential DIY electronic music beano – Track Of The Week: Dark Sky Burial + Good Stuff: The Cube Of Unknowing, Scholars Of The Peak, James Adrian Brown, Fields We Found, Ossa + more, more, more!
Last week’s newsletter was interesting, not just for being jam-packed with great music (frankly when is it not at the moment?), but for the choices artists are making. Both Jo Johnson and Loula Yorke released work that isn’t available via free streaming. It feels like 2025 could be the year when actually paying for music becomes the norm. Which is, of course, how it should be.
Conversely, I’m trying to ensure that Moonbuilding Weekly remains free. The aim has always been to fund all this with advertising rather than paid subscriptions. Funding through ads means I’m able to put independent DIY releases in front of an ever-increasing audience rather than it just being available to paying subscribers. It’s a model where everyone wins.
The problem is, try as I might, as of next week I have zero adverts booked in, which scuppers my plan somewhat. Last year the ad slots were pretty much full every week, this year, tumbleweed. Might be time for a rethink. Anyway, advertising details are here or drop me a line at the address below.
Oh, Happy Valentine’s Day! Moonbuilding Weekly loves you very much.
See you next time.
Neil Mason, editor
moonbuildingmag@gmail.com
Issue 53 Playlist: Click here
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DARK SKY BURIAL ‘Decay Is The Matrix Of Fertility’ (Consouling Sounds)
For various reasons, I’ve been listening to a lot of dark ambient work recently. I was reading up on the origins and and was interested to see that Throbbing Gristle’s ‘DOA: The Third And Final Report Of Throbbing Gristle’ from 1978 and the soundtrack to David Lynch’s ‘Eraserhead’ from 1977 (a film that was a very heavy influence on the art school version of me) both, according to Wikipedia, contain “early genre elements”. No wonder this stuff is calling me.
So last week I covered Markus Guentner’s ‘Black Dahlia’ (AFFIN), which is indeed “a dark ambient delight”. The interesting thing about this genre is it seems to be populated – or at least the stuff I tend to notice does – by people for who it perhaps isn’t their primary genre. Markus for example is a name I know from his early days on Kompact when he was leading the pop ambient charge.
Most interestingly, a lot of the very finest work is coming from the death metal community. A while ago I interviewed former Napalm Death drummer Mick Harris whose Lull project I’d highly recommend (Scorn too, but that’s more industrial rather than dark ambient). This week it was the turn of his bandmate Shane Embury who emailed in the dead of night to point me in the direction of his Dark Sky Burial project, which is in part inspired by his great love of 70s horror. It’s pleasing that he didn’t contact me during daylight hours, comforting almost. Anyway, Dark Sky Burial are rather great. Thought I’d share their most recent single with the group so you can appreciate it too. ‘Decay Is The Matrix Of Fertility’ is from the ‘V.I.T.R.I.O.L.’ album, which came out last December, while Shane releases a new dark ambient spilt LP, ‘Neon Gods’ / ‘Own Your Darkness’ with Sepultura’s Iggor Cavalera in March. See? They’re all at it!
If any of this is up your street, I’d say a poke around on the Cold Spring Bandcamp page will reap rewards and you should also head in the direction of the excellent This Is Darkness, “dark ambient fans’ one-stop news site”, these people – unlike me – know what they’re talking about here.
darkskyburial.bandcamp.com / coldspring.bandcamp.com / thisisdarkness.com
Got an upcoming release? We’re all ears. Email moonbuildingmag@gmail.com
Words: Neil Mason
GOOD STUFF #1
THE CUBE OF UNKNOWING ‘Bog Summoner’ (Library Of The Occult)
Buckle up, I’ve got a heap of stuff to get through today. When don’t I of late? I’ve had The Cube Of Unknowing’s ‘Bog Summoner’ on repeat for quite a while. I wrote the obi notes, lovely to be asked, and was very happy to do so in return for a pile of LOTO vinyl, which arrived in a timely manner yesterday, among it all was this. If I was Francis Heery, aka the Irish-born Berlin-based brains behind The Cube Of Unknowing, I would have been tempted to swap album and artist name. Bog Summoner is such a great artist name. He says that record mutated a few times during the recording process and ended up as “a rather sprawling collection of largely motorik pieces with a mind of their own in a way”. The idea of which I love. I know exactly what he means. Writing is like that, sometimes stuff just pops out and you have no idea where it comes from.
Francis talks about the musical touchstones for this record, and says rather poetically that “one slime appendage of its amorphous corpus is soaked in the live recordings of Harmonia, and another in ‘Phaedra’/‘Rubycon’-era Tangerine Dream”. For me, the points of reference are more contemporary. Yes, the Berlin School is there, The Tangs are hard to avoid when you’re in this ballpark and even flecks of the utter genius of Harmonia’s ‘Live 1974’ are most welcome, but this also has the feeling of those sprawling ambient tracks by The Orb. The way the opening ‘Hag Of The Hazel Wand’ butts up to the more hectic ‘Horned Beasts Of Ui Maine’ is a delight and would I’m sure meet with Alex Paterson’s approval. You hesitate to say this, but you can hear Kraftwerk in there too, they’re in that rattling drum sound of ‘Bog Magnus’ and the thrum of ‘Tumulus’.
It’s great when Francis starts talking about themes behind the record, which of course you are all wondering about with a title like ‘Bog Summoner’. “The general theme,” he explains, “as with a lot of my work, is the ‘Bog Gothic’ mood of the Irish mid-lands around East County Galway, which inspired some of the titles.” For example, ‘Uí Máine’ is the name of the early medieval clan who ruled the area, and English arch-alchemist Edward Kelley claimed to be a descendent. “There are still many Kellys around the area actually,” says Francis. “I found it quite inspiring to imagine such a key figure in European occultism claiming a lineage to my specific neck of the woods in rural Ireland.” Edward Kelley is fascinating, I heartily recommend looking him up if his name is new to you. He was around in the 1500s, an occultist and scryer, a kind of spooky fortune teller, who could communicate with angels (not sure what the terms is for that) as well as an alchemist who claimed knowledge of the philosopher’s stone, the alchemical substance used for turning base metal into gold. Yeah, right. Harry Potter might have something to say about that.
Francis talks evocatively of all this stuff pinging round in his head during the writing process, imagining Edward Kelley returning somehow and “appearing to lunatics and wayward souls in the bogs, circling the burial mounds, summoning spirits in bleak rainy fields among watchful horned beasts.” I mean if that doesn’t get you listening, nothing will. It seems that bogs have inspired Irish writers for centuries. Bram Stoker was even inspired by the otherworldyness of bogs. I found a workshop in May called ‘Bog Gothic: Boglands In Irish Literature’ at The Crescent Arts Centre in Belfast if you’d like to know more. It sounds brilliant. If you’re at a loose end this Saturday (15 Feb), Jen Herron who is running that workshop also has one called ‘Representations Of The Banshee’, which sounds equally good. Details of all that are here if you need.
There’s two versions of this release, a heavyweight green vinyl and a sub club splatter that looks rather great. The thing is, even if you wanted it, the subscription service sold out last year so you can’t. You snooze, you lose.
libraryoftheoccult.bandcamp.com
GOOD STUFF #2
SCHOLARS OF THE PEAK ‘The Call Of The Summit’ (Wormhole World)
Having been in on the ground floor of Drew Huddard’s journey as Scholars Of The Peak, I’m chuffed to see him releasing on a label and it flying out. It’s gone to a fifth edition, which Wormhole World are saying makes it their most successful ever release, which is heartening news all round.
It was only a year ago that Drew was sending round his debut ‘The Peak’ EP, which immediately stood out as something a little different. I soon discovered he was a bell ringer. He lives in the Peak District and spent three months learning the art of church bell ringing in 2020, but when he was ready to step up to to join the real ringers lockdown hit. “In 2021/2022 when we could start up again, it was like starting over,” he told me. “I’m still what you’d class as a ‘newer’ ringer, but I’ve rung three quarter peals so far – that's 1,260 changes of the order of the bells taking around 50 mins… just make sure you nip to the loo beforehand.”
You can hear that he applies this thinking to his music. He has the melodic nouse of Warrington-Runcorn, who are clearly an influence, but he brings his church bell ringing sensibility to the table to give him an edge. So if tracks like ‘Lure Of The Depths (The Mermaid’s Pool)’ and ‘The Red Saddle (For Clara & Alan)’ sound like he’s ringing church bells, that’s exactly what he’s doing. Real bells do appear in his work, they’re here in ‘Ghosts Of The Derwent Bell Tower’, but he’s applying the techniques to electronics and the results are a delight. If you pop over to his Bandcamp page there’s a track called ‘Plain Hunt On 6’, which is the foundation of bell ringing (“The working bells change places at every hand and back stroke,” explains Drew. “They all do the same pattern of work although they start at different places along the pattern.”)
‘The Call Of The Summit’ has that contemporary pastoral feel of Clay Pipe and a sound that has an almost permanent feel of Christmas. I guess that’s bells for you. It’s a release that also feels like a game of two halves. Sixteen tracks is a lot. The first six glitter, dazzle even. They give the release such a strong opening that you wonder how Drew is going to keep it over so many tracks. When your good is this good, you are occasionally going to find yourself playing catch up. There is absolutely nothing wrong with anything here, I very much like the delightful melodic swirl of ‘The Heights Are Ours’ and the pulsing rave meets 70s kids TV theme of ‘Perilous’, but I can’t help feel like I’m listening to Drew’s aural sketchbook and maybe this would’ve worked better as two releases of eight tracks each. I think that way you’d get a mix of his range. It’s all a learning curve, hats off to Drew for getting this far so quickly, I guess having more music than you know what do with is a nice problem to have. Knowing what do with it is an acquired skill. You can’t help looking at Warrington-Runcorn for an absolute masterclass in knowing what you’ve got and exactly what to do with it.
As an aside, I’d imagine the next step for Scholars Of The Peak is taking this whole shebang live. Looking forward to seeing if that’s something on the cards and how Drew tackles that. He’s been one to watch since that first EP dropped last year and remains hot property with this. Love the artwork too, he’s shaping up into quite the package isn’t he?
thescholarsofthepeak.bandcamp.com
GOOD STUFF #3
JAMES ADRIAN BROWN ‘Live At KPISSFM’
The reinvention of JAB is just so almightily impressive. From axe-wielding maniac in indie rocksters Pulled Apart By Horses one minute to DIY electronic powerhouse the next. I don’t know why, but that’s just painted an image of Hong Kong Phooey for me – who is this electronic superhero? James, the fuzz guitar menace? Could be! And it seems he’s slipped almost effortlessly from one world to the other. I know it wasn’t effortless though. Unable to play with the band, and with his mental health not in the best place, James turned to synthesis during the Covid lockdowns as a means to just keep creating. You suspect little did he know the affect it would have on him. Or how much it would suit him and his seemingly hidden skills. Ever since there’s been a steady drip-drip of releases, mostly singles, the high water mark of which (so far) has been the Castles In Space released ‘Terra Incognita’, a six-tracker from last July that dealt with themes of “self-exploration, mental discovery, and inner healing”. It was described as an EP. Hm. Don’t get me started. Again. There’s rules, people, rules. I said at the time it was “dark and foreboding, very cinematic, and not long enough to call an album”. Funny.
I think that release was the one that cemented James as one of us. His live shows where he’s reborn as a jumping jack electricity jockey have only compounded his status. People like Adrian, Jo Johnson, Loula Yorke, Warrington-Runcorn, Polypores, Field Lines Cartographer, A’Bear, et al, do seem to be rewriting the live rule book. Gone are the sprawling sets that make you feel like you need a wall to lean against, and in come these bursts of pure, concentrated synthy goodness. You can go out for an evening, see three or four acts, half an hour or so each, and feel properly entertained. And more than that, these acts are all different, the sets are never the same twice. There’s a flex you get with synths, room for manoeuver, space for going where the sound takes you. We are long way from turning up to see a some band and hoping they play the hits.
It was great to see Loula Yorke offering up a live recording for release post-Christmas and the same goes for this live performance James did for the long-standing KPISSFM internet radio station last November, 28/11/24 if you need to be precise. “As we move into 2025,” he says on his Bandcamp page, “I’m departing with the live set I've been playing since 2023 and waving bye-bye to the mechanics and structure of that performance. I’m incredibly fond of how it was curated and carved out though. So it felt like a nice idea to release the live session I recorded a few months back for KPISSFM, that way it’s gone but not forgotten.” Kept for posterity, and rightly so, it’s a cracking set. It opens with the beautiful ‘Mothers Ruined’ a track you would only have heard live as he never got round to recording it. The highlights, look, it’s six tracks, it’s all good, but I’m especially a fan of the abrasive funk of ‘UVB-76’ from ‘Terra Incognita’ and the utterly euphoric ‘Everything Follows’, an early single that he closes the set with. So with this closure we can look forward to an all-new JAB live show some time soon… which begs the question is that because he’s ready to reveal his debut album? Oh 2025, it looks like you are going to really spoil us.
GOOD STUFF #4
FIELDS WE FOUND ‘Resolve/Relate 02’ (quiet details)
qd big chief Alex Gold returns with the second installment of his new ‘Resole/Relate’ project and we’re picking up where last month’s outing left off. The idea if you missed the maiden voyage last month is summed up very neatly on the project’s Bandcamp page. “For the present moment, at this time, one take, analogue instruments, recorded to tape, from the heart.” The pieces are long-form, 20 minutes or so, and come with liner notes, artwork, instrument imagery and now there’s the addition of an alternate version of the main attraction in the shape of a dub mix. “Dub music and its philosophy has been a huge part of my musical life since my formative years as a teenager,” writes Alex. “The music I make is a long way from that stylistically, but the ideas and techniques resonate through all my work.”
Musically, it’s another deep listening experience. I love how Alex’s drones slowly evolve, or resolve I guess. In the full version the low frequency hum of the drone is really hypnotic here and there’s some lovely additions as it builds towards the end. A melody almost appears and there’s what sounds like a gentle chime that weighs in towards the end, turning into a distant, very soft and gentle undulating siren/alarm-like sound. The ‘Statis Dub’ feels more buzzy, less controlled, there’s a kind of menace to it as the drone rises. While it isn’t what we’d understand as dub, you do understand what Alex means when it talks about the ideas and techniques resonating through his work. It will be interesting to be able to listen to these tracks back to back as the collection builds. You can already hear the progression from ‘01’ to ‘02’.
Alex also picks up on the point I made earlier about artists seeing actual £££ for their work. His idea is that the dub version will be available to everyone initially, but will soon become a subscriber exclusive. “This is part of building a sustainable artist model,” he says, “while giving everyone the chance to access the music. Neither will be on streaming platforms to reinforce the importance of buying music if we want artists to keep doing what they do.” It’s got to happen. We have got to stop seeing music as being free and start paying these incredible artists for their work. Loula Yorke’s brilliant monthly mixtapes are part of her subscription service and only last week we talked at length the Jo Johnson who launched her own monthly series, one new track each month with a whole host of extras that will build into album that will be available in the autumn on CD. I think she mentioned somewhere that she had 50 subscribers, which is a great start, but at £3.50 a month she needs more to make this enterprise self-sustaining. I don’t want to start sounding like a stuck record, but if we don’t support these artists we are going to lose them.
GOOD STUFF #5
OSSA ‘Early on 2004-2008’ (Waxing Crescent)
Guess what this is? Yup, it’s the early previously unreleased work, made circa say 2004-08, of Kaiton Slusher’s Ossa project. The Indiana-based recording artiste was last spotted on this very same label in 2023 teaming up with Global Goon for ‘Bruit Électrique’. Johnny Hawk’s Global Goon you should know as he’s Rephlex alumni, Ossa has also collaborated with our good pal Zake of Past Inside The Present fame, which makes him very much ok with us. I’ll be asking questions later about all this so do pay attention. Anyway, this is rather great. It’s like something that lives in a world of its own. ‘AM/SteadFAst/ReedBuII/JamSession PART’s 1 & 2’ not only wins our title of the week (previously held further up the newsletter by The Cube Of Unknowing’s ‘Hag Of The Hazel Wand’), but also the most creative use of an apostrophe s. It’s a full-blown nutjob of a tune, bright as misaligned full-beam headlines on a dark country road. It’s only four and half minutes long, I’d be happy if it was more like 20. ‘Oatmeal & ACID’ is just as deliciously bonkers. I mean you know it’s coming, it’s in the title, in caps, there’s a sort of mewling synth to start with and a whip-cracking snare, and then there it is – bring on the squelch. Earlier I was talking about Scholars Of The Peak’s 16-track album perhaps being too long, here we have six tracks that isn’t long enough. You can’t win round here can you? ‘Polyend44’ gets squelchy again with a massive acid sound, some lovely Chicago-like synth washes and a melody that feels as warm as a bath. With bubbles. It’s like Ossa has spent a load of time finding utterly great sounds and then set to work sticking them all in tunes, like ‘My Kinda Pancakes’, which is the most Aphex thing here. Fair play. I like all this very much. If Waxing Crescent had a house sound, I’d point at this sort of thing. Full-on synths, bright as buttons, as mad as frogs.
waxingcrescentrecords.bandcamp.com
THE HANDY ROUND UP
A couple of real corkers incoming, starting with Point Contact’s debut album ‘A Fleeting Point In Terrifying Beauty’ (WW). It’s the work of classically trained London-based composer Jo Wills and is called “expansive experimental electronic post-rock” by his people who drop names like Ben Frost, Godspeed, Sunn O))), Neu! and Hawkwind. Big talk right there. It’s field recordings meet analogue processing meets a love of metal and it’s filthy. “The process started with field recordings taking structure and context from landscape,” says Jo, “then developing that structure through improvisation. The music is almost entirely analogue, using feedback and saturation as tools for organic growth, creating sound that is always moving, responding and developing.” It sounds like it’s been dug up, left in the rain for a bit, buried and dug up again. Nice job.
pointcontact.bandcamp.com
On a much calmer tip, I’ve really been enjoying Tape Loop Orchestra’s ‘Voix De Sabbat’ (Spirituals). The latest opus from Salford-based Andrew Hargreaves is described as “hissed-out choral elegance”, which is a line I like. Spirituals, by the way, is a new imprint of James Vella’s Phantom Limb “offering works of high grade, emotive ambient and experimental music from emerging artists from across the world”. Will be keep a close eye on that for sure. Here we head on “an uncanny and experiential immersion into strange but beguiling depths” and yes, I can confirm this true. Of the two pieces, I’ve had ‘Voix Figées’ on repeat. It’s such a peaceful mediation, the repeating refrain so warm it makes me want to curl up in a dark room. The frozen voices of the title arrive hauntingly, yet utterly beautifully, towards the end.
tapelooporchestra.bandcamp.com
Hipwell & Kasperkiewicz’s ‘Hemispheres’ (Woodford Halse) is something of a welcome surprise. It’s the first fruit from a two-year collaboration between Australian artist Adam Hipwell and Polish musician Jakub Kasperkiewicz. It’s a kind of northern vs southern hemisphere kind of thing with two long and two short tracks inspired by ancient supercontinents Gondwana, which was made up of Africa, Australia, New Zealand, Antarctica, South America and India, and Laurasia, which was Eurasia, North America and Greenland kind of 250 million years ago. Quite a while really. Here we have Jakub’s space rock guitar melting into Adam’s kosmiche musings. A firm favourite this week in those quite early morning moments at Moonbuilding HQ.
woodfordhalse.bandcamp.com
Talking of our pal zakè from PITP, which we were in the Ossa piece, there’s Benoît Pioulard, Viul, From Overseas, zakè, Marc Ertel, Wayne Robert Thomas’ ‘Koselig’ on his other label Zakè Drone which happens to be celebrating its fifth birthday this year. The label is for zakè’s independent and collaborative work that doesn’t fit the criteria of the mothership. I happen to know that ‘Koselig’, is a Norwegian state of mind that focusses on coziness. It’s a bit like the Danish hygge I suppose, both of which are designed to get Nords through the freezing cold winters. I know how they feel. This also has the longest line up of artists I’ve seen in a while. But they’re not all on each track, there’s four cuts and each one is a duet. You should know by now what to expect when zake’s name is on something, this is no different. The accompanying notes with these releases are always very thorough and from them you learn that the first two tracks, the 18-minute ‘Kindness’ and ‘Canaan’ is the first new music from Luke Entelis (Viul) and Thomas Meluch (Benoît Pioulard) since 2022. I especially like the delicate ‘Canaan’. The highlight here though is the huge swollen sigh of From Overseas and zakè’s ‘A Whisper’. Beautiful, but when isn’t it from this stable?
zakedrone.bandcamp.com
Italian multimedia artist and “one-woman electronic choir” Jolanda Moletta has been busy. There’s two releases in my listening pile with her name on them. The first is ‘Night Cave’ on Whitelabrecs, whose new offshoot Driftworks we featured last week. ‘Night Cave’ follows Yolanda’s ‘Nine Spells’ album from 2022 and she remains on a similar tack. ‘Nine Spells’ was all about reconnecting with her female ancestry, while this new outing “delves deep into themes of ancestry, nature, and inner exploration” using field recordings and vocal performances made inside you actual ancient Italian caves. I mean, that is field recording. It’s lovely work, sparse, powerful, spiritual. You sort of wish you’d been there, hearing the genesis of all this in the those caves. She also appears on the debut vinyl outing of ‘Suspended Between Worlds’, a piece she made with fellow vocal artist Karen Vogt during the first full moon of 2024 in “a coastal town of north-western France, just a few hundred metres from the Atlantic Ocean”. Caves, now oceans. There’s a power at work here, right? The piece was mastered by Slowdive’s Simon Scott and released digitally as one long work. Here it gets divided in two for the vinyl. There’s a cassette as well, and both are perilously close to selling out. Chop chop.
whitelabrecs.bandcamp.com / karenvogt.bandcamp.com
Getting there, two to go. We’re surprised there’s not more Valentine’s mush this week, so thank goodness for ambient maestro/Slowcraft label chief James Murray who sees his magnificent 2018 lovey-dovey album ‘Landscape Of Lovers’ get the reissue treatment from Home Normal. The notes from the label’s Ian Hawgood are excellent. He talks about how the release was something different for James at the time consisting of two long-form tracks (how many times have I said “long-form” in this issue? Too many!) of 20 minutes each. “It is his use of melody and the ability to never stay too long at any given moment within a piece that makes ‘Landscapes of Lovers’ so surprising in its focus, length and vision,” he wrote. It’s great to see these two pieces getting another swing at it on this most romantic day. Oh, there’s also a new track, ‘Safehaven’, recorded over Xmas 2024 especially for the CD reissue.
homenormal.bandcamp.com
Another Italian, it’s clearly Italy week here. London-based Sofia Hultquist dropped us a nice email to point us in the direction of her new Drum And Lace EP, ‘Tempora’. It’s also another vocal work, it’s funny how these things tend to cluster. The tracks are hitched to the seasons, and come out of live vocal and synth improvisations made on actual solstices and equinoxes (wondering if I’ve got the plural for equinox right there, equinoxi?). The work is really calm and peaceful with strong minimal synth lines and shivery vocals, which is especially effective on the opening track, which is called ‘Shiver’ so that’s doing its job well. The plucky synth feels quite dancefloor, which you realise is also in Sofia’s armory when you listen to the ‘ONDA’ album from last year. You can hear it’s the same person, but the two releases, the LP and the EP, are two different sides of her coin. And goodness me, someone has got to say it, I don’t know if it’s just my Valentine’s mind at work, but her artwork is so rude!
drumandlace.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.
Copyright © 2025 Moonbuilding
Thanks for including resolve/relate 02 Neil 🙏 Very much appreciate your amazing support for all the independent artists and labels out there x
Thanks for the kind words for Hemispheres Neil!