Issue 61 / 11 April 2025
Your essential DIY electronic music beano – Track Of The Week: Tommy Perman / Morgan Szymanski + Good Stuff: Field Lines Cartographer, The Eyes And The Mistoids, Bonfire Hill, Amparo, Hadley Roe +more
It’s funny how it goes. Last week I was fighting for air there were so many releases coming down the tubes, this week is much more serene. Not nearly as many long-playing outings, so much so I’ve managed to mention a couple of EPs, which is a treat. I’d love to do more singles and EPs, but it’s the usual story. Hours in the day versus the money-in column. So if you can line up more hours in the day or would like to advertise, both would be very welcome. Do drop me a line.
Moonbuilding (print division) is going on a little outing this weekend. We’ll be at Indie Mag Fest on Sunday (13 April) selling our wares from midday. It’s being run by the lovely people from The Tonic mag and is at the Gipsy Hill Brewery in the sunniest part of south east London (Unit 5, 160 Hamilton Rd, Norwood, London SE27 9SF). It’s a cracking taproom, which will be made all the better by a zine fair this Sunday (I must not spend more than I take). It’s free to get in, come along and say hello if you’re in the ‘hood.
Right. Onwards. Just a 24-minute read this week. Lots of short, easy words. Enjoy.
Neil Mason, editor
moonbuildingmag@gmail.com
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TOMMY PERMAN AND MORGAN SZYMANSKI ‘Harmonic Rain’ (Blackford Hill)
video: Juan Pablo Ortíz
Those who recognise either of these names will know that news of a new album is reason to get excited. Tommy Perman and Morgan Szymanski have known each other since they were little, Morgan is a classical guitarist, Tommy brings the electronics. And considerable design licks. He is a talented sod. You should know Tommy from ‘Ash Grey And The Gull Glides On’, his collaborative album with Andrew Wasylyk on Clay Pipe last year. And if you do know that record, you won’t be surprised at the quality of this project.
So guess what? New album from the pair? Yup. ‘Songs For The Mist Forest’ is due out in the summer, July to be precise, and it’s the follow-up to 2022’s ‘Music For The Moon And The Trees’. While that first release was recorded in a woodland cottage in Perthshire near where Tommy’s parents live (and you’d presume where these two grew up), this new album is much more exotic inspired as it is by Morgan’s ranch in the mist forests of Valle de Bravo in Mexico.
The first fruit is a track called ‘Harmonic Rain’, which is rather fine, and as you can probably imagine, it comes with a message. In the notes it says the track “represents Valle de Bravo’s ecosystem at its most healthy” explaining that “the dense tree canopy captures moisture from the mist, which then drips down to the ground, replenishing water sources and supporting a diverse ecosystem. But like many places around the world, Valle’s natural environment has been badly degraded by human exploitation”.
The album has evolved from a soundtrack Morgan and Tommy produced for ‘El Dragón de Los Bosques de Niebla’ (‘The Dragon Of The Mist Forest’), a documentary that examines the ecocide in Valle de Bravo. “Overdevelopment is destroying the forests that are home to Abronias, beautiful small reptiles native to the region and the ‘dragons’ of the film’s title,” explains the notes.
More nearer the time, but I’ve had a sneak peak and the album is great. Lots of incredible playing and plenty of field recordings of the Valle’s wildlife and habitat. The closer, ‘Canción del Adiós’, in particular is a stunner featuring as it does vocals. “Morgan and Tommy,” says the notes, “have crafted a suite of music that celebrates the beauty and vitality of our natural world and provides a call-to-action to save it while we still can”.
‘Songs For The Mist Forest’ is released by Blackford Hill on 25 July
Got an upcoming release? We’re all ears. Email moonbuildingmag@gmail.com
Words: Neil Mason
GOOD STUFF #1
FIELD LINES CARTOGRAPHER ‘Solar Maximum’ (Woodford Halse)
The return of Mark Burford and FLC to Woodford Halse feels like a special occasion, the sort of thing you need flags and party poppers and hats out of crackers for. His outings on the label so far have indeed been worth celebrating. He contributed one of the very early WH releases, ‘Formic Kingdom’, in 2020 and hasn’t been seen round those parts since 2022’s ‘Superclusters’.
“This time,” says the label’s Mat Handley of the new release, “we focus on the intense period of solar activity of our own sun’s 11-year cycle; the Solar Maximum. Over five tracks we see solar flares, sunspots, irradiance and radio flux soundtracked by Mark Burford.” Much of Mark’s work is focused up in the stars, it’s about galaxies, planets and the like. You know, the big stuff. That said, ‘Formic Kingdom’ was about ants. But usually FLC takes you to the corners of our universe. He deals in large, vast, huge. Concepts that are difficult to wind your head round.
Talking of which… I heard something the other day, not sure it’s true, but someone was saying that a couple of the stars in Orion’s Belt were actually bigger than our sun. Not a little bit, but vastly bigger. Which is so mind blowing its hard to even start to comprehend. I mean how far away would those little specs of light need to be in order for them to be bigger than our Sun? When I was very young I was very obsessed with space and how it went on forever and ever and ever and ever. I remember lying in bed seeing how long I could say “and ever and ever and ever”… it never failed to freak me out.
It is then no wonder the work of FLC appeals to me so much. You suspect he had the same thoughts when he was young. You don’t really get over that sort of stuff. I’m not sure how I deal with it these days, usually by not trying to think about it, or letting Brain Cox do the heavy lifting. Mark Burford deals with it all musically. And how. ‘Solar Maximum’ is a stunner. It’s an album of two halves, a proper A-Side/B-side thing, divided into the first four cuts and the three-part title track grand finale, which is just so good.
Mark channels a sound that really fits the subject matter. Here, the whole thing has that sort of deep, underlying rumble you have in films like ‘Event: Horizon’, or am I thinking of ‘Sunshine’? That constant rumble of huge craft traversing the universe. Here, opener ‘Ionic Wind’ shimmers and gusts in tense fits and starts, while ‘Irradiance’ shimmers and ‘Excitation’ prickles with a tantalising promise.
The three-part title track is the main attraction though and it’s epic FLC. It does that trick he’s so very good at, the build that teeters on the brink, but never comes to fruition. It’s like waiting for the drop in dance music and it never arriving. It works such a treat when he does it over a prolonged period, like, say, the 21 minutes here. It starts out as a gentle throb, a low speaker-shaking rumble and builds, almost unperceivably, slowly adding tinkles, drones, bright pulses and a sort of melody as it heads to a climax, teetering right on the brink of a cacophony, climbing towards it and then, before it erupts, ebbing away. Perfect.
“A little bit of sōl magic” say the label. There is a lot of magic here.
GOOD STUFF #2
THE EYES AND THE MISTOIDS ‘Luna Terra Sol’ (Waxing Crescent)
Continuing the sun theme, Stuart Smythe’s The Eyes And The Mistoids picks up his relationship with Phil Dodd’s Waxing Crescent with a new full-length for the label. A quick count-up and I make it that ‘Luna Terra Sol’ is his third LP for the label and his first since 2023’s ‘Frock’, there was a five-track EP too that followed the debut ‘Oobleck’ album in 2022 too. I do like it when an artist sticks with one label, there’s something very reassuring about it. A kind of confidence radiating from label and artist. All of Stuart’s releases so far have been with Phil and long may that reign as he is something of a force to be reckoned.
His thing is something of a curveball, which always goes down well round here. I’ve seen the expression “synth-fusion” mentioned in the same breath as his work, which I think does it a disservice. Anything described as “fusion” makes me think of awful jazz-funk outfits. This is very much not awful. or Jazz-funk. I’ve also seen his work described as “off-the-wall piano jazz and modular chaos”, which is much nearer the mark.
To give you a good idea where he is coming from, my attention was grabbed by the fact it’s mastered by Stephen James Buckley who also mastered 2022’s ‘Oobleck’, his first outing as The Eyes And The Mistoids. Two things to say here, 1) if Polypores is involved in any way, shape or form, there are good things afoot and 2) this is all ringing vague bells for me. Turns out, after a bit of digging around, there was an album in 2020 called ‘Piano: Dismantled’ by Polypores & Friends that was along these very same lines, piano meets modular synths. There were five pianists, including one Stuart Smythe on three tracks. Which gives us a very nice trajectory to The Eyes And The Mistoids doesn’t it? Stuart works with Stephen on that album, is inspired to do more, gets modular, Stephen gets involved with mastering and new star is born. I do like it when I can tie things up neatly. I might be totally wrong, but suspect I’m not!
Listening, and I’ve had ‘Luna Terra Sol’ on a fair few times this week, I can very much understand where Mr Buckley is coming from in wanting to work with this stuff. You suspect you could separate out both parts and listen to them individually. The piano work here is melodically lovely, very new classical, while the modular backing tracks sound great, full of weird wonks and electrical-powered grooves. I love the funky ‘Axel F’-like bass pattern of ‘Kondratyuk’s Loop’ especially how it builds across the track and morphs in and out of shape as the piano melody tiptoes around it and Stuart shovels sounds into the boiler it as if he were fuelling up a steam train. ‘Gigantic Otherworldly Light’ is the mirror image, a track that starts with with a gentle piano and morphs slowly into a modular throb. It’s all rather glorious.
But what is it you’re probably wondering? Is it a jam? Does he fire up the modular and riff along with the piano? Or is it more composed than that, are the wonky backing tracks constructed for the playing of the piano over the top. It seems he uses random pattern generators overlaid with what he calls “piano noodling” and “off-the-cuff solos”. It’s all very listenable I have to say. Maybe a “remix” album is in order, the pure piano tracks on one side, the modular wig-outs on the other.
A quick mention while we’re on the subject of Waxing Crescent for Slobject’s ‘Northern Detachment’ that arrived a couple of weeks ago, but I carelessly neglected to mention. It’s a return to the label for the mysterious Slobject who debuted on Waxing Crescent in 2023 with ‘Entrance Fees And Exit Wounds’, which had remixes from both Fields Lines Cartographer and Lo Five. He/she/they do keep good company. The interestingly titled ‘Gout Chaser’ is very tech-house, quite Oakenfold-y if you ask me. Lovely stuff. There’s a lot of variety here, tracks such as ‘Mouthless’ and ‘Jon Bon Jella’ are piano-y meet electronics-y (there’s clearly something in the air), but here it all comes with a prog/tech house vibe. Very nice it all is too.
I think I’ve said this before, but Waxing Crescent is one of those labels that quietly goes about its business, no mess, no fuss. It doesn’t seem to need its ego stroking and does what it does in a quietly assured way. And it has good reason to feel like that. It’s a cracking label with a raft of excellent releases that bear further exploration. There’s some cracking stuff just waiting to be discovered.
waxingcrescentrecords.bandcamp.com
GOOD STUFF #3
BONFIRE HILL ‘A Year On Bonfire Hill’ (Bonfire Hill)
This year has found me bang on about several artists, the likes of Loula Yorke, Jo Johnson and Fields We Found/quiet details, who are doing things differently. The record an album/release an album model is looking pretty tired and not all that viable, especially when people are trying to make a living as artists and need to have more work out more often. The model that does seem to be reaping rewards is the monthly release schedule and it’s certainly something that is beginning to get fully explored round these parts.
All this is old news to Bonfire Hill, a collaborative project between Rebecca Denniff (Subphotic, Storm Chorus) and David Owen (Band Of Cloud, Storm Chorus, The FLK, The Hollow Men). Back in the mists of 2023 they served up a new 12-minute-long track each month that dealt with the folklore, customs and traditions of that month. These dudes were well ahead of the curve, which doesn’t surprise me in the slightest. In particular, David’s work as The FLK is some of the most innovative, laugh-out-loud brilliant thinking I’d come across in a long time. When David is involved in something, I do tend to listen.
‘A Year On Bonfire Hill’ is the long-awaited double CD collection of all the full-length tracks from Jan-Dec 2023. 144 minutes of it. There was a vinyl release last year where Sendelica’s Peter Bingham made a 40-minute edit of the 12 tracks across two sides of vinyl. Very nice it was too, but obviously, to stick the full-length tracks out on vinyl would have created a bank-balance-busting triple album, hence the CD. As I’ve said before, CD is where it’s at these days. Frances Castle’s mini-CD series is such a joy and I picked up a copy of David Keenan’s Manifesto Of Bliss fanzine this week and that too came with a mini-CD… CDs rule. They sound flipping great too.
‘A Year On Bonfire Hill’ is a very thoughtful package. The CD comes wrapped in one of those fortune tellers you’d make constantly when you were at school. You know the ones, they had colours on the outside, numbers on the inside and messages under the numbers (“You stink”, “You eat bogies” and other low-level insults). Here the hand-made fortune teller is much more grown-up (“She is coming and you must be ready”, “How fair is the maiden on Bonfire Hill? She is standing beside you” … brrrrrrrrr). It also comes with collector’s card featuring artwork from the series. “People might get a full set of cards eventually if they keep buying our releases,” David tells me, “like Panini stickers!”
Musically, ‘A Year On Bonfire Hill’ is one heck of a thing. “These are the songs, tunes, symphonies and anthems of Bonfire Hill. An aural almanac. A musical guide to the seasons, rhythms, celebrations, events, special days and darkling nights when the veil is thin,” say the notes. The original releases came on the 21st of the month and each track was “a reflection/refraction of where we are at that point in 2023 placed against the wider context of where we’ve come from and how we got here”. There is a lot of listening and figuring out to be done. The tracks are packed with field recordings, spoken word, samples, strings, vocals, electronic warbles.
You can hear the progression from the chill of ‘January’ to the thawing of ‘March’ (the birdsong!). ‘April’ opens with stormy weather, the famous showers (which we’ve not had this year… yet), and the fizzing keys seem to be ushering in the spring. By the time we get to flaming ‘June’, you can feel the warmth of the sun shimmering and a beat kicks in, this is the stuff. All 12-minutes of it. ‘September’ feels autumnal with its spoken word line of “do you walk to school?”.
There is an insane amount of music here across these two CDs. It’s the sort of thing I can happily stick on and let drift in the background dipping in and out as it catches my ear. And believe me, it will catch your ear.
GOOD STUFF #4
HADLEY ROE ‘The Inner Garden’ (Past Inside The Present)
A Past Inside The Present double bill to round up today’s Good Stuff picks. The first one comes from British-based “soft dreamy ambient” composer Hadley Roe who treads a very delicate musical route as she tries to cope with and make sense of a “rare and debilitating mental illness”. Her debut album from last summer came with some very honest notes. She talked about her illness preventing her from “living any kind of semblance of a ‘normal’ existence”. Loaded word that, normal. Those who are “normal” wish they weren’t, and those who aren’t wish they were and no one really knows what it means.
Hadley talks about moving to a “quiet little house” in the countryside where she started to create gentle ambient soundscapes to help her heal. “I had no intention of letting anyone hear this music of mine,” she wrote, “but over time I figured that if there’s any chance it might resonate with someone out there, why not just let go of my insecurities and self-doubt and see what happens?”
Why not indeed. This second album continues her mission of both self-healing and now her work is out of the bag, helping others. To me, there is a joy here, a happiness in tracks like ‘Forgiveness’, which is scattered with birdsong and a really beautiful flute melody… is it a flute? She achieves all this “vivid sonic alchemy” with what’s described as “a modest setup of electric guitar, synth, and software”. There is something very shoegazey about it all. It has that kind of swirl and drama, only very gently so. I mean it’s all gentle, but something like the title track has a weight too.
The track titles are heartbreakingly blunt and direct - ‘Tears Had To Fall’, ‘I Just Want To Get Better’ - and while you can hear the pain, you can hear the hope too. Each track has a kind of micro melody that loops as it sits among a swirl of sounds that bear repeat listens. It really is beautiful stuff. The label nail it when they say “we are lucky to experience the rare joy and reprieve of this sacred place with her, if only for a brief, bewitching moment.”
GOOD STUFF #5
AMPARO ‘Keep Your Soul Young’ (Past Inside The Present)
Finally this week, we have the Tucson-raised, Gothenburg-dwelling ambient guitarist/visual artist Lela Amparo. Her photography work is stunning, there’s a series of flower images, full of saturated colour, that are very pleasing. Her landscape work, that draws on computer-manipulated images taken on her travels, is just as captivating. Her album cover looks to me to be one of her own shots. It’d be daft not to really.
For ‘Keep Your Soul Young’, she parks the old six-string though and goes to town with all sorts of electronic trickery. Opener ‘Space Us Out’ sets out the stall nicely. Gentle strings sweep and a muffled beat kicks in before the whole thing begins to clear, like a kind of fog lifting, and we settle into a very detailed, mellow groove. There’s a piano picking out a path, spoken word samples, and the strings arrive again to see out the track. The way she layers and builds up the strings in ‘You Say You Love’ is impressive. It feels like a substantial wall of sound she creates. And it’s that level of detail that sets her apart I think. While there is much going on in her tracks, she makes crisp, clean music that is full of ideas and not just musically so.
‘Keep Your Soul Young’ is an exercise in summonsing up emotions for Lela. In ‘Rose & Honey’ she talks about the time she spent in Tokyo. “From the happiness of the sun and warm weather, to the sadness of isolation, confusion and jet lag,” she says, “I remember so vividly the honest discussions I had with myself as I wandered various neighborhoods, feeling overjoyed, but also nostalgic, knowing it would all soon become a memory.” The whole thing is about “remaining at home with yourself, not matter your physical location”. It never ceases to amaze me how artists can use instrumental music to tell their stories, or more to the point, convey their emotions. It’s easy if there’s a lyric, not so much when it’s just music. It’s always interesting in interviews to as artists who do this to try and explain what’s going on. Creative expression is a wonderful thing.
THE HANDY ROUND UP
And talking of double-bills, I don’t usually cover EPs. There’s not enough hours in the day to get through all the albums without getting into EPs too. But there are two new releases that it would be churlish to miss out on. The first one is the new Warrington-Runcorn New Town Development Plan EP, ‘Overspill Estates’ (Castles In Space). But don’t get toooo excited, it is new music, but it’s not new, new music. While there is an album on the way (I hear talk that the whole of side two is one track, I know right), these four tracks are from the same sessions as last year’s ‘Your Community Hub’ opus. That’s the “overspill”, you see. But fret not, these are no unwanted cast offs. “I’d worked on these tracks for the best part of a year,” says Gordon Chapman-Fox, “and, in my mind, they were a fundamental part of the whole ‘Your Community Hub’ project. I was heartbroken when they couldn’t make it onto the album, so it’s an enormous relief to see them come to life here.” And come to life they surely do. The Human League-ish synth rumble meets Kraftwerkian drum machine tsk-tsk-tsk of ‘The People Of The Town’, ‘All Mod Cons’ we know as it was exclusively on the Electronic Sound grassroots CD in Jan, ‘Open Green Spaces’ swoons like Vangelis, while the excellently titled ‘All You Need In Five Minutes Brisk Walk’ is perhaps my favourite here, it feels very Terry Riley with those cascading, repeating motifs.
castlesinspace.bandcamp.com
The other EP you should know about it Matthew Shaw’s ‘The Tower EP’ (Buried Treasure). It’s been out a week and is, of course, totally sold out. Sorry about that, but digital is still available. It’s an EP of “ambient electronic meditations” record by Cornwall-based artist/author Matthew during a two-week artist in residence stint at Curfew Tower, Cushendall, Northern Ireland… which is owned by Bill Drummond. Over the years, he’s “sentenced” many an artist to live and work in the Tower and to integrate into the local community for the duration of their stay. Matthew was there last November, which he describes as “cold”. He says he’d spend his days composing and “taking walks down to the coast, past a standing stone and back to a café and library for warmth”. Which I guess is integrating. The EP is a combination of composition and field recordings made during his day-to-day experiences – “squeaking doors, creaking steps, roaring fires, boy racers, snatches of conversations from the pubs, café and streets” and all done while “fighting the cold in as many layers of clothing as I could wear”.
buriedtreasure.bandcamp.com
System 7’s ‘Live Transmissions 02’ (A-Wave) is quite a thing. If you’ve seen Steve Hillage and Miquette Giraudy live in the last year or so, this set will be familiar. I saw them at Castle In Space’s Levitation fest last autumn and much of this was aired there. The opening ‘Meditation Of The Dragon’ is hard to forget with Mr Hillage going to town guitar-wise with what’s described as “searing shards of acapella echo guitar”. ‘Live Transmissions 02’ was recorded at the Duo Music Exchange in Tokyo on 10 May 2024 and, it says here, “romping across various highlights from the 30-plus year tenure of System 7 and the ambient alter ego Mirror System, the masterful set builds to a powerful climax of thunderous psychedelic techno”. A few too many adjectives in that sentence for my liking, but you get the idea. It is a rip-roaring set, they chuck in their Plastikman remix of ‘Alpha Wave’, their own remix of Joujouka’s ‘And Justice Killed’ as well as their A Guy Called Gerald collaboration ‘Positive Noise’. Steve Hillage will be 74 this year. Which is worth remembering when listening to him knocking out these utter bangers.
system7.bandcamp.com
Robin Rimbaud dropped me a line recently pointing me in the direction of a couple of his new releases. Chief among them was Scanner & Nurse With Wound ‘Contrary Motion’, which finds the pair “exploring the darkest regions of the airwaves and live electronics”. I remember having to track down Nurse With Wound’s Steven Stapleton for a piece once. I discovered he was living on farmland somewhere in Ireland with no access to a phone or email. You had to phone up a neighbour who would go find him for you. Or at least pass on a message. It seemed to have worked as I ran a Time Machine piece by Matt Parker about the famous Nurse With Wound list complete with a Steven Stapleton interview. You are in luck as it’s not behind the paywall… read it here. ‘Contrary Motion’ is a great piece of work, dark, moody, melodic, there’s some lengthy rubdowns here too, I particularly like the rhythmic clang and groove of the 12-minute ‘Conium Maculatum’. It comes in two editions, the Scanner CD edition and the Nurse With Wound CD edition, identical music, different artwork.
scanner.bandcamp.com
Simon Heartfield is a name I often see around the place, I think I first spotted him on the sadly departed Werra Foxma label, but he’s released all over, including Shady Ridge who we were only talking about last week. The release comes with some not too helpful hashtags – #ambient #electronic #experimental – which is quite a good title for a magazine. Hello, it’s Neil form Ambient * Electronic * Experimental magazine. I mean it covers all bases, right? Simon is a prolific producer with some 20 year’s experience under his belt. “I can't imagine not doing music,” he says, “it’s the first thing I think about every day. I can start with an image from a book or a film or a line of dialogue I like… the music builds itself, it’s literally a case of switching the equipment on or picking up a guitar and seeing where it goes.”
So where does it go on his new album, ‘The State Of Social Movement’, his first for the one-time Cardiff now New Zealand-based Machine Records? Well, it is very filmic. I don’t know why, but it reminds me of 1970s New York, the steam risers, shooting the pumps, the yellow cabs. It’s very moody, very sleek, but that’s what 20 years at the coal face does for you. I especially like the flickery ‘The Eyes Of The Evening’.
Dan Haines Cohen’s Machine label always do a lovely job with their releases, which usually includes a lengthy interview with the artist on the Bandcamp page. I really enjoyed the chat with Simon. It covers lots of ground, formative influences (Kraftwerk and Tomita were keystones), his starting out kit list is good. “I didn’t really have proper access to any instruments for making electronic music apart from a very cheap keyboard from my mum’s shopping catalogue,” he says. OMD started in the very same way, with a keyboard on the never-never from Paul Humphreys’ mum’s catalogue. Small world.
machinerecords.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.
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