Issue 58 / 21 March 2025
Your essential DIY electronic music beano – Track Of The Week: Rival Consoles + Micro Moon, Andrea Cichecki, worriedaboutsatan, Ian Boddy & Harald Grosskopf, Paul Cousins and much more!
What struck me while writing this edition of newsletter is that quality of the artwork on show in this week’s Good Stuff releases is sky-high. There’s always a really good standard, but this week seems like it’s off the scale, the sort of stuff you’d want to hang on your wall. It reminded me how much energy and effort goes into making these releases just right. It’s not just about the music, although that is the main attraction, but the whole experience. I note that there’s a Dolby Atmos version of the Micro Moon release, which I think might be a first round here. So hats off to the fine people who spend so much time packaging up all this amazing music to send it your way. Keep up the good work.
It looks like BNDCMPR won last week’s battle of the playlists poll. The link to this week’s playlist is below. The big reveal from the poll was that nearly half the people who responded had no idea there was a playlist with each newsletter. Cuh. With that in mind, the in-house messages are now in a BIG FONT below so you don’t miss out. The playlists are really good, there’s loads, I’ll dig them out and put them in a list somewhere for you. I’m nice like that.
OK so that’s me. I’m off to do something else now. Happy reading.
See you next time.
Neil Mason, editor
moonbuildingmag@gmail.com
Issue 58 Playlist: Listen on BNDCMPR
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RIVAL CONSOLES ‘Catherine’ (Erased Tapes)
Photo: Eva Vermandel
It’s hard to believe that Ryan Lee West is on the brink of releasing his ninth studio album, ‘Landscape From Memory’, which will be released via Erased Tapes on 4 July. Where does the time go? There’s already been a bit of a drip-drip-drip with tracks from the record. With ‘Catherine’, there’s now four doing the rounds. ‘Coda’ popped up as a single way back in 2023, there’s a track called ‘Gaivotas’, which is incredible, a kind of glitch Vangelis, that’s been around since last September and there’s ‘If Not Now’ that was released in December. With ‘Catherine’ we get some flesh on the bones of the record. The track is described as a “skippy, haunted club shuffle of memory-jogging lead single”. The track is prime RC, all melodic rave chops, a warm thrum of a bassline and glittering tingles all over the place. “I recently came across this sketch of a melodic idea that I created many years ago,” says Ryan of the track. “The title is named after the person who made me realise in that moment, that this idea had something special about it that should be returned to.”
The album is “party stitched together from a scrapbook of discarded audio snippets,” explains Ryan. He had a self-imposed hiatus following the release of ‘Now Is’ in 2022 where he fell “out of love with creativity”, a process that, it seems, made room for this record. More about all that nearer the time. Suspect they’ll more tracks popping up between now and July too.
It’s funny, you do forget just how essential the London-based Erased Tapes label is. It was set up back in 2007 to release Rival Console’s first EP and has offered up some proper dazzlers over the years - work from the likes of Ben Lukas Boysen, Douglas Dare, Penguin Cafe, Peter Broderick, Nils Frahm, Olafur Arnalds… it remains wholly independent and is a shining example of what’s possible when a grassroots label blossoms. This kind of thing is why we do what we do here at Moonbuilding Weekly.
‘Landscape From Memory’ is released by Erased Tapes on 4 July
Got an upcoming release? We’re all ears. Email moonbuildingmag@gmail.com
Words: Neil Mason
GOOD STUFF #1
MICRO MOON ‘Figure In A Landscape’ (Clay Pipe)
We don’t always write about acts with the word “moon” in their name… oh, hang on, we do, don’t we? It helps when they’re as good as Micro Moon, the latest artist to grace the very lovely mini-CD series from Frances Castles’ wonderful Clay Pipe label.
Micro Moon are an Anglo-Spanish duo, pianist/synthesist Isabel Pérez Castro and guitarist/synthesist Stephen Holbrook. The accompanying notes say they blend “classical piano with rich electronic textures and melodies”, which is a totally fair exploitation of what they do, it just doesn’t reveal quite how brilliantly they do that.
The couple have discussed musical collaborations for years, but it took the pandemic to get them started. They began experimenting with sounds at home and learning production along the way. Their debut EP, released in August 2020, laid out their stall perfectly. They have a sound that is very much their own and you can hear its progression across their four self-releases to date. On ‘At The End’ from July 2021, Isabel’s piano meets some really gentle synthesis before building to a deeply resonant crescendo and a kind of blueprint is created. It made me smile when I read that their last EP, ‘The Fear Frequency’ from October 2023, was recorded at Spare Room Studios, London. It’s a studio familiar to many round here I’m sure. If you need to catch up with Micro Moon, their Bandcamp page has everything you need.
So, Frances at Clay Pipe has a very keen ear as we know and this mini LP, clocking in at six tracks, is Micro Moon’s finest work to date. Quite what they’ve been doing in Spare Room Studios since 2023 is clearly working because ‘Figure In A Landscape’ is really excellent. ‘Figure In A Landscape’ is, apparently, inspired by real-world locations, from the sound mirrors of Romney Marsh in Kent to the atmospheric Fábrica da Luz, or light factories, nestled in the Galician mountains of Spain. It’s funny, I found it sort of helps to listen along to the locations.
While ‘Figure In A Landscape’ comes on mini CD, it’s almost as if it was intended for vinyl, three tracks a side. The A side opens with what sounds like a straight piano track, but slowly it reveals its electronic underbelly of slight squiggles, intimate interference and subtle shudders. The duo talk about drawing on “subtractive synthesis, drone music, the Radiophonic Workshop, and psychogeography”, which is the perfect set-up for listening to this. It’s those Radiophonic touches that make it stand out. The little electronic swirls and bleeps and crinkles lurking in the background. ‘Desire Lines’, which would be the closer of Side A were this on vinyl, gets rich and bassy on us with deep, resonant ripples powering up until an almost Kraftwerkian bassline takes over and a twangy ‘Twin Peaks’-ish guitar chimes in. This is great stuff.
The B-side opens with the pensive beauty of the piano-led ‘End Transmissions’ that feels funereal to start with, but opens up its coat to reveal a warm flicker of synth before hiding it away again. It slides into ‘Border’, a repeating pastoral guitar pattern meets bird song kind of track that gets swamped with swooping synths before everything drops out for a breather and returns with a beat. A beat! And closer ‘Mirror Marsh’ is a rasping groundshaker of track, not only full of menace, but feeling hopeful too.
We need to keep a close eye on Micro Moon for sure. I love the leap they’ve made sonically from their last offer to here, can’t wait to see what comes next.
GOOD STUFF #2
ANDREA CICHECKI ‘Drawn Into The Edge Effect’ (Castles In Space)
Holy shit, look at that artwork will you? The boy Nick Taylor has come up smelling of an entire rose garden with that one. Incredible. It’s high time we had some frame-able posters of his stuff. Or… oh hang on, I’ve got some of those album picture frames somewhere that I’ve never bothered to put on the wall. There’s a job for the weekend… this one is going on the wall.
When we started this Moonbuilding lark there was a comment somewhere or other that stuck with me. We’d just published the first print issue and someone decided that, because there was a man on the cover, they were going take issue, accuse us of, well I don’t know what really. “No thanks”, I think was the comment that stuck. Well, if that person had waited for more than one issue before pointing a finger, they would have found a print title that has a 50/50 male/female cover star ratio and a weekly newsletter that is full of incredible women. It’s not always 50/50, but I trust that the universe serves up the good stuff in equal-ish proportions and it does seem to. I didn’t mention this at the time, but our end of year list last year was pretty much 50/50, show me another title that can claim that.
What I’m saying is we’re incredibly lucky in our corner of music world to have such talented people in such equal measures. Which is all a long-winded way to welcome Andrea Cichecki with her debut long-player on CiS. The Dresden-based producer/composer/social media-ite is someone whose work you will have no doubt encountered. I do find it hard to believe that his is her debut album, seems she’s released singles and EPs before, but nothing long-playing. Which does surprise me as I know her work. She was on one of DiN’s ‘Tone Science’ collections (‘No.7 Cause And Effect’ if you’re keen) and her videos creating modular soundscapes in the great outdoors are wonderfully quirky.
Her sound too is distinctive. It’s great how people working with modular kit always seem to have a unique sound. I was talking to a friend the other day about this. We were saying how much we love the limitlessness of electronic music and how guitars are all well and good, but they only have six strings so the sound coming off them is going to be limited. Synths on the other hand make almost endlessly unique sounds. And those sounds very much depend in whose hands the machines are in. You can tell Polypores for example, and Loula Yorke and Jo Johnson for example, they all have their own sound. I think the more we hear from Andrea, the more her unique sound will permeate.
The notes for ‘Drawn Into The Edge Effect’ say that after many years of city living, Andrea has discovered a “deep inspiration for her music in the nature surrounding her new home”. It seems she lives very close to where countryside meets woodland and experiences “edge effect”, hence the title. It’s a “unique zone where different ecosystems converge, creating a diverse and vibrant natural beauty”. Each track here tells a personal story, which you will have to draw out from the titles, she does reveals that the album is an “emotional exploration” of her past, touching on “themes of loss and letting go”. It’s very soundtracky in places, very warm and filmic. ‘Different Step’ is something you can hear as a camera follows a car along a long road that weaves alongside a great lake with the sun setting in a riot of reds, yellows and oranges in the distance. ‘Choosing Paths’ has a really upbeat jaunt, a proper skip in its step. I really love the deep synth sweeps of ‘A Tale Not Everyone Knows’, which builds into a beautiful 80s Moroder melody, like maybe a prelude to ‘Electric Dreams’. Really lovely work.
Looks to me that the journey for Andrea as a release-based artist is only just beginning, but on the strength of this debut it’s got everything it needs to go places.
GOOD STUFF #3
WORRIEDABOUTSATAN ‘The Future Can Wait’
A new worriedaboutsatan album is always something to get excited about. We were talking earlier about the long-standing Erased Tapes and how it’s a shining example of what’s possible label-wise in this corner of the music world, well, Gavin Miller is a prime example of what an artist can do. He’s been at this lark since 2006, which is no mean feat. He says in the release notes for ‘The Future Can Wait’ that with worriedaboutsatan in its 19th year, this release is his 18th album. He also says that this year he turns 42, which means he’s been doing this most of his adult life. Quite a thought. Some people play golf you know. More importantly, 42 is the magic number. The answer to the ultimate question of life, the universe and everything, which bodes well for Mr Miller.
Starting out with all this in 2006 places him right at the epicentre of all this in those very early days when Ghost Box were gaining traction. I didn’t know that early doors satan was a band featuring one Thomas Ragsdale, which explains much. The thing about Gavin is over all those years he’s always done his thing his way. While you would find his work on other labels - Gizeh, Burning Witches, Sound In Silence, Shimmering Moods, Golden Ratio Frequencies, Wolves And Vibrancy – much of it has been self-released on his own This Is It Forever label, which makes a good deal of sense to me. It’s pure cottage industry stuff that isn’t for the feint-hearted. I couldn’t run a label, the time lags between finishing something and seeing it released would drive me insane. I like rattling this out on a Thursday and pressing publish the next day!
And so to his 18th long-player, ‘The Future Can Wait’. “Time has always been a well of inspiration for worriedaboutsatan albums,” writes Gavin in the notes. “Especially recently.” He talks about how the album draws on the idea of time as well as “more existential themes of sitting silently and watching the world descend into a dystopia”. Yup, we’re all sitting there doing that. It follows on from last summer’s ‘If Not Then, Maybe Now’, which featured three lengthy offcuts from his ‘If Not Now, When’ album. So here we also have three long tracks, there’s nothing under 13-minutes, which sure helps when you’re staring into the abyss and wondering what next?
Opener ‘What Exactly Is A Dream?’ and closer ‘La Mouche’ are, says Gavin, “cosmic, ARP-heavy electronica” a la Berlin School, which is warped with a “particular northern English eccentricity, while sat in the middle comes ‘America Will Continue Until Morale Improves’, a guitar-driven ambient cut that “drifts until it implodes,” says Gavin before adding “Apt!”. The message isn’t lost there is it? I love it when Gavin goes long, it really affords him the time and space to stretch out, to let him explore the sounds, let those bassy lines really resonant and grow, allow the melodies to pick their way through the flowers. Here I especially like ‘What Exactly Is A Dream?’ that builds itself up over five minutes before a crystal-bright kicks. A heck of an intro that. As usual, this is quality gear from a master of his trade. Look and learn. Look and learn.
worriedaboutsatan.bandcamp.com
GOOD STUFF #4
IAN BODDY & HARALD GROSSKOPF ‘Doppelgänger’ (DiN)
And talking of the Berlin School…. Musical collaboration is one of the cornerstones of Ian Boddy’s DiN label and this one is a little special. Ian, as you will know if you’re a Moonbuilding regular, makes little secret of his love of the likes of Tangerine Dream and Klaus Schulze, so when a chance meeting happened at a musical festival in the Netherlands with Klaus Schulze’s drummer, Harald Grosskopf, Ian wasn’t wasting any time when the opportunity to work together came up. Harald is so much more than a drummer though as those who’ve know his classic 1980 Sky-released ‘Synthesist’ album will tell you. Indeed, the accompanying notes for ‘Doppelgänger’ say that Harald’s “keyboard playing is as much a part of this album as Boddy’s own”. But here, and unusually for DiN, the album is full of “groove-based tracks”, with Ian bringing the synth lines and Harald the percussion. I know Ian would be at pains to point out that this isn’t dance music. It’s not that you couldn’t dance to it, if the mood took you, although you’d imagine it’d be the sort of dancing you saw at the beginning of ‘Tales Of The Unexpected’ rather than sweaty light stick rave loons.
Many of these tracks are lengthy, giving the feel of extended jams. There’s a very relaxed feel to everything on show, you kind of imagine that Harald is that kind of chap. Not worried about much and lending a chilled vibe to proceedings. ‘Boulevard Horizon’ feels quite dark as it shimmers away before the louche beats arrive taking it down a more soundtracky path. I really like the playful Morse code-like blips at the beginning of ‘Signals From The Echo Chamber’.
The album very much has that Berlin School vibe, see the soaring synthlines on the closing title track, although as the notes point out, the influence does go “way beyond its metronomic straightjacket”. Harald has a “playful input on the track ‘Livewire’”, which is a frantic burble of a track that slow-builds over the first two minutes or so before a driving groove kicks right in. It’s excellent stuff. Ian then leads the way on the likes of ‘Dubnium’, which as well as the title could stand alongside a late-period release from The Orb. It has that warm, laidbackness so evident in the work of Alex Paterson. Oh and if you’d like a flavour, do check out the rather spacey/alieny AI video that accompanies the album’s 10-minute demo mix…
GOOD STUFF #5
PAUL COUSINS ‘Half-Speed Bias No.3’
We’ve a lot of long-form work this week, which is certainly ok with me. I had a very welcome email a few days ago from the brilliant Paul Cousins who told me he had a new track being released today. We talk about Paul a fair bit here at Moonbuilding. He’s a such a nice chap, but under that calm, unassuming exterior lies a boiling cauldron of audio tape-based madness.
His most recent piece was an interactive installation called ‘Atomised Listening’ in London’s glittery West End last November that turned listener into performer, allowing visitors to create their own soundscape from a mixing desk surrounded by reel-to-reel tape machines and seriously huge tape loops. It was one of those ideas that would have drifted into the mind of a normal person, they would’ve mulled it around for a bit before moving on to another thought, like what was for tea. Only a madman would think it was such a good idea that it needed turning into a reality. Say hello to Paul Cousins. The installation, you will no doubt be pleased to hear, was a roaring success.
His website is always worth a poke around on. I had a rummage earlier and discovered he’s leading a five-day residential workshop called ‘Composing With Tape’ in Cornwall in April. It sounds amazing. It says it’s “open to anyone curious about the creative potential of analog tape, from seasoned sound artists to those new to tape machines. Discover the beauty of imperfection, the magic of physical sound, and the joy of composing with tape”. How brilliant does that sound? It includes five nights accommodation, four full days of teaching, workshops, discussions and activities and all meals, snacks and drinks are included. Details are here… but it is sold out, of course it is. I’d love to hear the results, I’ll talk to Paul, see if we can’t get a few to debut on Moonbuilding.
So anyway… if you’ve heard any of Paul’s recorded output, like his CiS-released ‘Oxide Manifesto’ album from last year (highly commended in Moonbuilding Weekly Albums Of The Year list), you’ll have a good idea of what coming your way with ‘Half-Speed Bias no.3’. “It's a 13-minute soundscape captured live using prepared tape loops,” says Paul. “It’s perhaps my most abstract work yet, but also feels like the closest I’ve come so far in terms of pure expression.”
Which is a heck of a statement. The closest he’s come so far in terms of pure expression. That’s really something coming from Paul and listening to the piece you kind of get what he means. It’s a collage, a mixture of loops, field recordings and sound effects. “A reel-to-reel performance captured live in one take, it’s a shifting soundscape,” says Paul. “Tape loops are deconstructed into a tactile yet spacious atmosphere, as a unique sound world develops from the obsolete analogue equipment.”
The thing about Paul’s work is that it’s incredibly musical. Here there’s drifts of melody, phasing in and out on an echo or riding in a tape slur. There’s delicate tunes, drones, all sorts. That he’s working all this in an extended time frame really allows him the room to show just what he’s capable of armed just with tape loops.
To see him do all this is something else entirely and I’d recommended catching him live if you ever get the chance. You can actually watch him making ‘Half-Speed Bias No.3’ on his YouTube channel, it is fascinating to see. There’s a bunch of more of recordings in the ‘Half-Speed Bias’ series there too that will keep you busy for a while. Once you’ve watched one, you’ll have to watch them all.
Paul Cousins is a total genius, what he does is truly wonderful stuff. The release will be PWYW for 48 hours on Bandcamp. Don’t hang around.
THE HANDY ROUND UP
Righto, really can’t hang around this week. Places to go, people to see. First up is the Fields We Found/quiet details juggernaut that continues to serve up quality soundage with a brand-new series to run alongside the two current monthly outings. Alex Gold’s latest offering is a new Fields We Found quarterly EP series called ‘Rhythm Structure’. And guess what? Yup, beats! ‘Rhythm Structures’ is the opposite of his long-form deep listening ‘resolve / relate’ excursions and they are such a joy. Alex talks about his formative musical experiences on dancefloors across the UK and Europe from the late 90s onwards and explains that his new series is new music for those times. It’s all recorded to 1/4-inch tape, live from his machines, no edits, “just raw and honest music”. As someone who frequented the same sort of clubs at the same sort of time, this stuff resonates deeply. “Hope you enjoy,” says Alex in the notes. I do, really do. There’s five tracks here for £3.75 or get it all, everything he does for £40 a year. Please support this man, his work - not to mention his new-found work-rate - is phenomenal. Love it.
fieldswefound.bandcamp.com
With all the talk of double bills last week, I missed one right in front of my stupid face. I mentioned Conflux Coldwell’s excellent new album, ‘The Sunshine Miners’ on Woodford Halse, but completely missed Gary Solomon’s ‘Merry-Go-Round’ on sister label Preston Tapes, which was out on the same day. Putting that right now. It’s more long-form work in a week of long-form work and deals in tape loops. There’s a lot of themes developing around here isn’t there? Gary is a composer, performer and actor originally from Gloucester but based in Athens (the Greece one, the Georgia one) and this is one proper curio. It takes five-second chunks from rearranged pieces by Bach, Stravinsky and Beethoven, records them to tape loops and then lets the ghosts in his modular machines slowly destroy them. It’s hard to explain quite how out-there this stuff is. It’s fascinating, captivation, and once you’ve started listening it’s hard to stop. I don’t know what makes them so compelling, but these three recordings are really something else. ‘Bars 15-17’, which gets increasingly more frantic as it degrades is perhaps my favourite, although the title track, with its ice cream van tinkles and pulsing electrical interference is right up there too. ‘Merry-Go-Round’ is his first solo record. Where on earth to do you go for your second after something like this? Can’t wait to find out.
prestoncapes1.bandcamp.com
Thomas Ragsdale gets a second mention of the week as his Frosti label offers up ‘The Stasi Cafe’, a truly beautiful record from our Belgian friend Emile Wauters working as Autumna. Still love his ‘Secret Radio’ album from a few years ago. Emile’s work really suits Frosti, and Frosti really suits Emile. As such this is his third outing on the label. There’s the 18-minute plus track ‘The Third Half’ from 2022 and ‘Make Ghosts’ an eight-tracker from 2023. His work is this shimmery kind of gauze of sound, sometimes loud, sometimes very soft and gentle, through which other sounds emerge, almost like fingers poking through holes in a jumper. I laugh at my own clumsy descriptions of what music sounds like sometimes. Writing about music is like dancing to architecture, I mean who wouldn’t? It’d be rude not to do both, especially when one of them is your job. “The album started out as a few studies for a different project,” Emile tells me, “but gradually developed into a cohesive collection of tracks. A central theme is the bond of trust, what it means to have it, and how fragile it can be. The title was inspired by the book ‘Café Europa’ by Slavenka Drakulić.” With so much long-form work around this week I have done so much extra listening so I must thank Emile for serving up a whole album that clocks in under 25 minutes. Thank you!
frostilabel.bandcamp.com
I know about Kirk Barley because I interviewed him around his brilliant 2023 album ‘Marionette’. He is a man who likes a pseudonym – Bambooman, Segilola, Supergod, Grouphums – but chief among his nom de plumes is Church Andrews, which is just the best name. Church is his beat-driven work that he makes with a great drummer called Matt Davies. His work as Kirk Barley (which is his real name) sees him working with organic sounds, actual recordings of, well, real things. Think minimalist, think ambient. His people sum it all up so nicely… “Another foggy day in Yorkshire. A steel grey sky. Raindrops tracing one another down the windowpane. Kirk Barley sits in his studio and assembles compositions from scraps of found sound and live instrumentation. Melodies swell, withdraw and repeat like waves. Time slows. Accelerates. Slows again. The light bends, tweaked at the edges. Twisted by rhythms that never quite resolve.” His new album ‘Lux’ (Odda) is really great. Loving the chiming reverberations of ‘Vita’ the most at the moment. Odda is a really cool little label too, one worth a rummage around in that is for sure.
oddarecordings.bandcamp.com
Couple of quick ones to finish with this week. Substak’s 'Silent Observers' EP (Sea Blue Audio) is rather lovely. It’s the first release of the year from this Athens-based label (Greece again, not Georgia, I wonder if they know Gary Solomon?). The label sent me a really nice email recently to say hello and to introduce me to a new artist. And worth introducing he very much is. He’s also Athens-based and is Kostas Staikos and he makes this wonderfully dreamlike music as Substak. “The cosmos is the central theme on ‘Silent Observers’ and the listener quickly becomes immersed in the Substak interpretation of travelling through endless space to unknown galaxies”. I mean you do. There’s a track called ‘Orbiting Dreams’ that’s on my headphones right now and it’s so resonant it’s making my head vibrate. Really good. Liking it a lot.
seeblueaudio.bandcamp.com
Finally, I really need to point in the direction of ‘Games People Play’ (Italians Do It Better), the new Desire album from Johnny Jewel and Megan Louise. It’s something of an about-face when you consider it took them 13 years to follow up their debut album and now just the three to follow that up. And on top of that they love bombed us last year with a slew of singles, like half a dozen, all of which appear here, but the album is 20 tracks, “20 love songs for your dreams”, so you know, all the singles are but a drop in the synthwave ocean. I love this shit. There’s something very New Order about Desire, Johnny Jewel is a huge fan I know. It all sings to me anyway. Not quite sure where to point you as their Bandcamp doesn't seem to have been updated for a while. There’s one of those hideous link list things that points you to multiple hideous streaming sites (try Spotify for this, I guess), their Insta page is weird, like some sort of Megan Louise soft porn site… I dunno. You can’t have it all. The music is great though.
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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
Thank you Neil, a great round-up as ever!
So much stuff to listen to this week!!