Issue 63 / 25 April 2025
Your essential DIY electronic music beano – Track Of The Week: Hologram Teen + Good Stuff: Sarno Ultra, Silver Y, Ian Hawgood, Jo Johnson, Perrache + more...
So that’s Easter done then. How was it for you? Decent chocolate haul? I’m more interested in the hot cross buns to be honest. Pleased to say I had some nice ones this year. Next up is a bank holiday double-bill in May!
Talking of May, the usual reminder that if you are thinking of advertising don’t hang about as slots do have a habit of selling out quick-quick. It’s looking quiet, but that tends to change quite fast.
Following the slight release lull last week, we’re back to full tilt this week and there are some mighty fine outings among them including another contender for the Album Of The Year shortlist…
Oh and finally can I wish the best of luck to those who sitting exams, GCSEs, A-Levels, degrees. I can’t imagine many readers are in that position, but I’m pretty sure there’ll be plenty of offspring gearing up. Not that luck should enter into it. I fondly remember my exam days and luck was pretty much all I had.
Happy reading.
Neil Mason, editor
moonbuildingmag@gmail.com
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HOLOGRAM TEEN ‘Actarus’ (Hologram Opera)
Photo: Sheryl Nields
Morgane Lhote’s Hologram Teen shifts up a gear with the release of a second single ahead of a third long-player, ‘Captain Fluo’, which is set to arrive on her own, brand-new Hologram Opera label on 6 June. The new track, ‘Actarus’, is a disco-fueled love letter to 1980s Paris and its underground nightlife, not to mention a big nod to her formative years, which by the sounds of things were rich and varied.
“I was very lucky to grow up in the 70s when disco was huge,” Morgane tells me. “I was also very fortunate that my parents brought me a turntable and the latest hit records on vinyl from the age of four. I had the French version of ‘Heart Of Glass’ on seven-inch and I remember the cover used to scare me because Debbie Harry had too much make-up on.”
‘Actarus’, a full-throttle disco belter, is named after the “brooding prince who pilots the iconic Goldorak, aka Grendizer, in the legendary 70s Japanese anime”, which throws up a load more questions. Japanese anime?
“So a lot of French musicians from my generation love anime,” says Morgane. “France used to play Japanese cartoons all day long on children's TV because those programs were cheap to buy. I was raised on a healthy dose of ‘Albator’, ‘Candy’, ‘Capitaine Flam’, and ‘Goldorak’, Actarus is his pilot. French people who were born in the 1970s are still obsessed with ‘Goldorak’. The seven-inch for the show's theme sold more than four million copies when it came out in 1978!”
You can see why for yourself as that’s Actarus throwing shapes in the video for the single.
“You don't see enough super-heroes throwing shapes,” agrees Morgane. ”It was super fun to create a weird animated disco video with my childhood hero.”
Buckle this up with the first single, ‘Connection Transpacificique’, and it all bodes very well for the release of the full album in June.
“The whole ‘Captain Fluo’ album is about growing up in Paris and discovering its underground musical scene and independent record stores in the 1980s: Danceteria, New Rose and Crocodisc among many others. The album is my interpretation of what I listened to as a teenager, a mixture of disco, new wave, and French pop, put through an oddball filter.”
‘Captain Fluo’ is released by Hologram Opera on 6 June
Got an upcoming release? We’re all ears. Email moonbuildingmag@gmail.com
Words: Neil Mason
GOOD STUFF #1
SARNO ULTRA ‘Sarno Ultra’ (Bricolage)
This is something a bit special, it’s one of those releases that might’ve passed you by if I wasn’t about to shout very loudly about it. And that’s a big problem, everyone has to shout so very loudly to attract any kind of attention these days. Sarno Ultra shouldn’t be having to shout that loudly because this is a debut collaboration between Jilk’s Jon Worsley and Kayla Painter.
The shaper knives among you will know the pair have worked together as part of the ongoing Bristolian collaborative Jilk, but this is the first time it’s been just the two of them (I feel a song coming on…). And what a treat. As Kayla points out, it’s an outing “where the sum sounds nothing like the individual parts”.
For example, opener ‘Rogue Replicants’ starts off all floaty and ethereal, drifting along for a minute and half or so, before a beat begins to warm up, a drum ’n’ bass beat at that, which gives way to a full-blown chooooon as a growling bassline joins in and then a delicate melody arrives… it’s further from Jilk than it is Kayla’s work I think, but you can hear the influences feeding in.
The album as a whole sits kind of where Kayla’s dancefloor nouse meets Jilk’s wonkyisms. The choice of label is interesting too. John Gorecki’s Bricolage is the perfect front for this release. Talking about shouting loudly, it’s a label that deserves more attention than it gets. I think I’m right in saying the Glasgow-based operation is celebrating its 10th anniversary this year. If you’re new to the name, there’s a definite dancefloor-y edge to the releases. I’d recommend you start with the futurist soundcapes of John’s own Fragile X project and see where that leads. There is a very healthy back catalogue to catch up with.
“We’ve worked with Jon before under his Lying Cat alias,” say the label about this release, “and there has been talk of perhaps some new Jilk stuff for Bricolage, maybe still in the future, but I was blown away when I heard the Sarno demos from him and Kayla last November and here we are.”
Here we are indeed.
Back to the beginning and the shouting loudly for a moment. I’m always banging on about labels and artists needing to do things a little differently to attract attention and Bricolage’s bid is to host an excellent monthly podcast. They tend to come in the form of mixtapes from artists supporting their wares on the label, which are well worth exploring alongside the respective releases, but the best episodes feature artists talking about their releases. With the release of ‘Sarno Ultra’, we find Jon and Kayla chatting among themselves (listen here) about the new record, choosing three tracks each that influenced the recording (no spoilers, you’ll have to listen) and there’s also a touchpoint, Aphex Twin’s 170bpm ‘Vordhosbn’ from his ‘Drukqs’ album. Which makes so much sense when you hear this release. The pair talk about how they like that mix of frentic drums and woozy almost downtempo synth sounds. You can tell.
“Fractured vocals, intricate cascading rhythms, collapsing mechanical structures and pulsing textures carry the weight as we shift between moods and tempos with open eyes and ears” is how the label describe it, which sounds about right. I really like how that opening track melts from rattling drum ’n’ bass into ‘(Ar) 3d6 4s2’, taking the melody with it and getting glitchy. The title track is a treat too, twisting first one way and the next as it morphs from an almost 8-bit blipper to a satisfying four-to-the-floor acid-y rubdown complete with delicious melody, played on a harp? ‘Such Eyes’ is very Kayla, the mangled up vocals, the sweet melody, not the breakneck speed, but having to take an extra step here and there to catch up with itself. The thing to note is these are the first four tracks in order, there’s six to go. This is such a strong release, another contender for our Album Of The Year pile.
GOOD STUFF #2
SILVER Y ‘In The Depths’ (Bytes)
’In The Depths’ feels like it comes from a similar place to the Sarno Ultra album. It’s moodier, darker and more downtempo, but you can feel there’s a kindred spirit at work. You may recall that we featured the first fruit from this album as our Track Of The Week back in the mists of March. This year is in danger of running away with us if we’re not careful. May soon, before you know it June will be with us, which is actual summer. Once we’re into summer, autumn isn’t far away, the clocks go back, it’s dark all the time again and blow me down, it’s Christmas again. How do we slow things down? I feel like we need to.
Anyway, just to recap, Silver Y is Sicilian multi-instrumentalist/producer Laura Caviglia and this is her debut album. We’ve been looking forward to this landing so you can all get on board. As we said when we were writing about the single, there’s a lot of depth here, not to mention some very good musical taste that really shows in the end product. Laura drops names like Grouper, Biosphere, Bowery Electric and Rival Consoles as influences, which really caught my attention. You get kind of used to a standard list of influences so it’s refreshing when you see someone mixing it up a bit. Bowery Electric are especially interesting as I think I said when we were talking about the single. They’re not a name you see as often as perhaps you should when it comes to influence, and it’s always good to see Rival Consoles (album coming down the pipes in July) mentioned. That in itself shows that here is an artist who appreciates the good stuff. And that good stuff is clearly rubbing off nicely on ‘In The Depths’.
On the face of it, it sounds like it’s a pretty heavy release revolving around the themes of identity loss, the various stages of coma and, well, death. “Yet, contrary to what that might suggest,” say the label, “it is a more spiritual than dark album”. And it is. There’s moments of real clarity here. The way, like with Sarno Ultra, the first two tracks melt into each other is great. It’s like opener ‘Stupor’ is working as an extended intro for the beat-driven ‘Rest Home’, which was the first single. I think we said you could feel the Jon Hopkins vibes when we wrote about it before. I’m really enjoying ‘Sopor’, it has an off-kilter bassline whirl like something off ‘Kid A’, it feels very electronic Radiohead-y, which is never a bad thing. The choral flow and resonant thud of ‘Self’ is the longest track here at just under seven minutes and it acts as almost the centrepiece of the whole record. Like early on, the first two tracks working together, the title track here that follows ‘Self’ is a killer building from sonar beeps to a huge swollen crescendo.
Continuing the theme and the connections from the Sarno Ultra review, we were talking about how loudly you have to shout these days to get work like this heard. I seem to talk to Joe at Bytes a fair bit about this. When you look at what his label does, the kind of releases he pedals, you know that here is a proper label, one that has its names – artists like Andy Bell/GLOK, Minotaur Shock, Damon Baxter/Deadly Avenger and Franz Kirmann (new album incoming, very good from what I’m hearing) – but Joe isn’t afraid to get behind new artists either. Last year he served up ‘How To Stay Wide Awake’, the incredible debut from Seagoth, which was in Moonbuilding’s Top 10 Albums Of The Year. I’m amazed it didn’t have broader appeal, she’s not doing anything someone like Billy Nomates isn’t doing, retro pop, huge hooks, so why isn’t Seagoth getting the love?
Joe has such a good ear for high quality output as ‘In The Depths’ only shows. I know I’m saying this a lot of late, but we really need to get behind labels like Bytes. Listen to their music, engage on socials, tell your friends, heck, buy their releases. A lot of time, energy, effort, not to mention £££ goes into releasing music and there’s only so many times a label can take chances on brilliant, but unknown artists like Silver Y. Let’s show some proper love for this one.
GOOD STUFF #3
IAN HAWGOOD ‘Well, Here We Are’ (Quiet Details)
The high quality releases conversation continues with another fine release from the quiet details stable. Here we find ourselves back with the main label and an offering from Home Normal big chief Ian Hawgood. With a title like ‘Well, Here We Are’, we’ll get to what it’s all about in a moment, but there’s some really nice touches here that I like very much. It’s a release that traces some very neat lines.
I make this Ian’s third outing as an artist on qd, there’s a few more he’s mastered, all of which is fitting with his status in this world. The first two outings are under collaborative pseudonyms, ‘Frost Forms’ as Observatories with Craig “The Humble Bee” Tattersall and Slow Reels’ ‘Everyday Exotic’ with Slowcraft label boss James Murray. For this release under his own name, Ian invited a few friends, Sam Liu, Craig Tattersall, Alex Gold and Brad Deschamps, to contribute. The point is what qd is doing here is not only releasing A-grade tuneage month in month out, but it’s becoming a central focus for ambient music, much like Past Inside The Present is on the other side of the pond. If you’ve not released on these labels or aren’t lined up to do so, you need to be forming an orderly queue.
So anyway, to ‘Well, Here We Are’. In his own words, Ian says it’s an album that shouldn’t exist. “I didn’t want to record, play or even see another object related to music a couple of years ago,” he writes in the notes. He sold off/rehomed his studio and “went into a period of rehabilitation and counselling due to ongoing PTSD”. He thanks the NHS, his family and friends and the ManKind charity, which when you see what they do stops you in your tracks.
He says that “kindness and counselling saved my life”, which is not a statement to be taken lightly. He talks about how “we arrive at points in our life where the trauma of the past and fear of the future have less of a hold over us the more we invest in ourselves and those who love us. There’s great peace and joy in that, and that’s where ‘well, here we are’ is for me. It is where I am at right now”.
And it’s a beautiful record, of course it is. Where he is now is “light seeping through the porous darkness and focusing on that” and that’s how this release sounds. There is joy here, which is great to hear. As Alex so neatly puts it, “electro-acoustics, field recordings, low-fidelity whispers and unknowable wisps fill this gorgeous world Ian’s created”. I’ll be out of job soon if people carry on like that. With all this in mind, the track titles are the sort of thing you’ll pick through for a while – ‘And You Were Gone’, ‘Where I Went’, ‘Yes, We Bleed’. It is really great stuff, but when isn’t it on this mighty label.
GOOD STUFF #4
JO JOHNSON ‘Live At Parallel Festival (2019)’
I don’t know, sometimes it feels like I actually plan Moonbuilding Weekly doesn't it? Somehow I’ve managed to weave a neat thread through the first four releases this week, like they’re all connected. I mean they are, they’ve all caught my ear, but it’s more than that, there’s themes that hold them together too. I’d like to say it’s my journalist nouse formed from years of experience, but the chances of these releases lining up on the same day? Writing is like magic sometimes. I don’t know where it comes from.
Anyway. At the beginning of this year, Jo Johnson told us she’d be dealing with the fallout from the entire world falling apart, which, let’s face it, has only got worse as 2025 has progressed, by making and releasing a heap more music this year. True to her word, alongside the monthly recording and releasing schedule of her slow album ‘Alterations’, we are getting other work. Last month she added her 20-minute ‘Track 3’ from the Verdant label’s ‘Less Popular Than Cats’ compilation that also featured Reedale Ris, outlier and Romanticise The World, which is such a great name. This month it’s an entire live set from Parallel, a small techno festival in the mountains near Barcelona that she played in 2019. Which I think was fairly recently, a couple of years ago maybe. Turns out 2019 was SIX YEARS AGO.
‘Live At Parallel Festival (2019)’ is such a delightful listen, especially when you are armed with the story of exactly what it is. Over to Jo…
“One Sunday morning in 2019, a few months before Brexit came into effect, I found myself in the beautiful mountains near Barcelona at the most magical festival playing as the sun came out. I discovered this recording in an obscure folder recently and thought sharing it would be a good way to celebrate my birthday, remembering such a special occasion with friends old and new. Huge thanks to Parallel for an unforgettable experience.”
So firstly, a huge Happy Birthday to Jo for last weekend and secondly, thank goodness for obscure folders. I love the detail Jo always provides with her work, I love being able to put myself in a mindset or, as here, a location. She dropped me a line earlier in the week with some extra notes, which really help to further place this particular performance.
“As I said,” she writes, “I played on Sunday morning after catching a few hours sleep listening to the bleeps and bumps of Mike Parker's set, and as the audience was waking up and emerging from their tents. When I wrote this music, I was devastated and catastrophising about Brexit, which would take effect a few months afterwards. I really wasn't sure I would ever get to play in the EU again at that point. At the same time I was anticipating this beautiful experience in Spain surrounded by our amazing international music family. It was kind of intense! I knew that people would be hearing my set on the campsite before they'd properly woken up so there's something hypnagogic about it. It was written as a whole to flow organically throughout the hour.”
You do need to clear an hour to listen to this. As I’ve said before I like this kind of work early doors when the house is quiet. Which is fitting for this as that’s when it would have been performed originally. Imagine being at a festival and having this to wake up to. It’s 10 minutes before the drone gives way, another three before a melody picks its way out, the ebb and flow is just so calm and peaceful. Motifs appear and disappear and reappear, drones take over connecting and ushering in new movements, new sounds, new melodies. It’s like the whole thing is just drifting on the breeze, which is very much would have done. She tells me that the discovery came when she was doing “a bit of spring cleaning”.
“I’d always intended to record this set in the studio to get the best possible performance and audio quality or to record each section individually as separate tracks for an album, but I never got around to it. Listening again, I decided it was better to let it out into the world as it is. It's not perfect, but it is a unique moment in time, in my life captured. Better to let it go rather than hoard it for another six years.”
She adds a delicious bit of detail that I wasn’t aware of. “As it was performed outdoors it’s utterly drenched in reverb. When there are no walls for the sound to bounce off you have to emulate that ambience by increasing reverb and delay. I’ve also used EQ in the mastering process to manage some hiss from the desk. That's it, though, no other tinkering.”
No other tinkering required. This is slow listening of the very best kind. And to wake up to it, well, what a treat that must’ve been.
GOOD STUFF #5
PERRACHE ‘Mt Rubble’ (Taping Desk O-Phon)
From Stuttgart comes Perrache’s ‘Mt Rubble’ and the effort that’s gone into this release deserves a quick round of applause. It comes as cassette and a limited edition boxed version and there’s a fascinating story behind it all. ‘Mt Rubble’ referes to the highest point of Stuttgart, the city that Perrache’s Joachim Henn calls home.
The album is about a place that is colloquially known as Monte Scherbelino (Shard Mountain), which is a “schuttberg”, an artificial hill built from the ruins and rubble from World War II. You have to love the German language, it has a word for everything. Nearly half of Stuttgart was destroyed during the war, including pretty much the entire city centre. So much rubble was cleared during the rebuilding in the 1950s that it created an entirely artificial mountain. “Schuttberg” translates as debris hill, to have a word for it is beyond impressive.
Perrache’s fourth album pays tribute to what has not only become a local monument, but one that offers spectacular views over the city. A plaque at its peak reads, “This mountain stands as a memorial to the victims and as a reminder to the living”. The physical release of the six-track album on cassette features hand-numbered inserts that feature variations of imagery taken of the mountain, while the boxset is “a miniature Mt. Rubble with the hand-numbered six-track-cassette buried underneath”. All the contents of the box/mountain are hand-made so every box is different.
Musically, it’s a meditation created by Joachim with what he describes as “basic use of analogue synthesisers and recording techniques”. It feels like a full-bodied piece of work, mainly drone-driven, for example the opening track ‘Ouistreham, Terminus (Sans Issue)’ feels like tuning in to the mountain, you can hear the squall of a radio under dark machine blips as the track stretches out. ‘Tangping’ is brighter, coming on like a sunny day, with beams of light breaking through. You kind of feel ‘Mt. Rubble’ should feel darker, but it doesn’t. It is poignant, how can it not be when it relates to how almost an entire city was destroyed, but it’s hopeful too in that out of the destruction came something incredible. Not just an almost entirely new city, but something worthwhile came from the ruins. I really like the shimmery ‘A Tear For Brian’ which seems to almost glitter and it picks its way along.
It never ceases to amaze me the breadth of work we represent here not to mention the fascinating subject matter it draws on. I’m not sure we’ve ever had work about a schuttberg before though. Makes you wonder how many more of them there are… and if there’s going to be more recorded work about them.
THE HANDY ROUND UP
Following up ‘The Closed Circuit’, the 2023 debut album from WHI Recordings’ boss Tim Spear as Secret Nuclear, ‘Omega’, is a different fish entirely. Those titles feel like something 1960s Michael Caine would’ve starred in and musically they’re described as “paranoia-tinged electronica”. The difference between the two releases is the sound collages of ‘The Closed Circuit’ versus the taut songwriting of ‘Omega’. “I wanted to write something that was a departure from the sound of the first album,” says Tim, “something more immediate and ready for playing live.” Which is the Warrington-Runcorn school of thought. Where Gordon lands punches is his work, both recorded and live, is composed compared with many of his peers who travel the path of improvisation. And you can hear the change with Secret Nuclear. You can imagine yourself in the crowd and feel the anticipation of ‘Approach One’, while the rich synth bassline of the title track, ushering in a hectic topline that fizzes about all over the place, feels like one of those tracks that would build from nothing to room-shaking live. Tim says it’s a fresh take on the Secret Nuclear sound, and it is. What’s more, the whole set is a little over 35 minutes, which fits perfectly for the live arena. Keep an eye out for live dates which will, no doubt, be imminent.
Mortality Tables’ third season of his LIFEFILES series is approaching its conclusion and out come the big guns with one of the series’ best outings yet. Not that LIFEFILES has been especially shy of wheeling out names. Simon Fisher Turner, Veryan, Dave Clarkson, Maps, Sulk Rooms and Gareth Jones have all contributed. David Best, who shows up with ‘Skyrocketing (Featuring The Electrowhisperer)’, you will know as frontman of top-notch Brighton-based krautrockers Fujiya And Miyagi so you might already be thinking you know what to expect here. The first surprise is the offering is over eight minutes long, the second surprise is Dave left is F&M hat on the peg to make this. It chimes in with a synth line that arpeggiates away, dominating for much of the track, with squibs of sound appearing underneath as the track slowly and steadily builds to a very satisfying crescendo. Of course, this being Mortality Tables there has to be some element of mystery and here that comes in the shape of “The Electrowhisperer” who provides vocals. My first thought was it’s MT’s Mat Smith, but listening (the vocal kicks in at six and half minutes), it’s certainly not Mat. Answers on a postcard. Not sure even Dave can help as it says here that you “may or may not know who the Electrowhisperer is. As usual the track is based on a recording made by Mat, here it comes from SkyForce, Flambards amusiement park, Helston, Cornwall. And helpfully Mat provides a date – 16 August 2021. Mat never does anything without a reason and I note that after 48 years, Flambards closed it doors last November due to “rising costs and a steady decline in visitor numbers”. Use it or lose it is a message that echoes far and wide.
Having said I don’t tend to cover EPs last week and promptly covering a couple of EPs, here I go again. I’m a big fan of Cynthia Bernard’s Marine Eyes and always look forward to her landing in my inbox. It’s been a little while since there’s been new music from Cynthia so her new, self-released EP ‘quiet circle’ is very welcome. She says it’s a collection of of six songs that “felt right together”, which I really like. Sometimes music can just be. Talking about this EP she says when she was growing up there was street her family would drive past called Quiet Circle. “My child brain always wondered if it was truly quieter there. That curiosity stayed with me and became a small part of how I learned to value stillness. This EP is dedicated to just that, carving out space for our own quiet circles.” And heck, we could all do with a bit of that, right? This set feels especially powerful, there’s some really prominent, strong sounds on ‘Long Horizon’, which feels like huge waves breaking. There’s a listening party for this one with Cynthia on-hand to answer questions TONIGHT at 7pm (BST). I usually miss mentioning all the listening parties in the weekly as they’re mostly held on Thursday nights so please I get to point out this one. Cynthia also hints at a “massive collab project” she’s involved in. Due up for pre-order at the end of May, she’s not giving much away, but has promised to reveal more shortly. She says it’s “something quite different and excited to pass that one on”. I will be excited to be on the receiving end.
So this is interesting. I do like it when something arrives in my inbox and it takes me a little while to work out what on earth it is. Sonamb is Vicky Clarke, a name I know from covering the Oram Awards. She was one of the annual winners in the same year as Loula Yorke in 2020, which bodes well for starters. ‘Latent Spaces’ (LOL Editions) is a cassette release, the follow up to her debut ‘Sleepstages’ album from 2022, and featues three, long soundworks that take the listener “on a journey through training a neural network, considering what happens to the materiality of sound in latent space”. Vicky is really interesting, a mixture of academic and artist – she’s experimental electronic music tutor at the University of Oxford and has a long list of residencies that are as impressive as the work they create. Read more about her here. It turns out these tracks are live recordings made last year from Vicky’s artistic research into machine learning and musique concréte. Which makes sense when you hear it. IT sounds like something from the outer reaches of a Planet Mu release meets, well, you know that drawer you have in the kitchen that’s full of interesting bits and bobs that aren’t kitchen related. Imagine filling that drawer with sounds and hading it over to Vicky. She explains that the piece was originally composed in 2020 “following training on lo-fi neural synthesis model PRisM SampleRNN, and acts as a ‘point in time’ in the rapidly developing field of sonic AI”. There’s three tracks on the cassette, 10, 20 and 30 minutes long, but there are also four radio edits should Greg James need them for the Radio 1 Breakfast show.
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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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