Issue 85 / 24 October 2025

Your essential DIY electronic music lowdown: Track Of The Week: Curtain Twitcher + Album Of The Week: A'Bear + The Leaf Library + JQ & Richard Pike + Andrew Tasselmyer + more...

Oct 24, 2025

As I was writing this yesterday, I heard the very sad news that Soft Cell’s Dave Ball had died, aged 66. I’ve interviewed Dave, he was such a warm person, great company and told the best stories. Soft Cell, as I’ve said many times, changed lives. For my generation, seeing Marc Almond on ‘TOTP’ was the moment when being different, how ever that manifested itself – boys in bangles and eyeliner, gay, straight, other, whatever – became OK. It was a green light in so many ways. Without Dave, that moment wouldn’t have happened. His considerable skills weren’t limited to just Soft Cell. He was integral to the legendary ‘Jack The Tab’ album where he first met Richard Norris, his partner in The Grid, who, like Soft Cell are due back in the limelight. Sadly both will be without their driving force. He was a top man. The world will be a lesser place without him.

Have I mentioned I’m heading to The Cabs show in Sheffield this weekend? Ha. I’m very warm and fuzzy about the place as I went to college there. People would ask why Sheffield? I’d say the course had a great reputation, what I didn’t say is I wanted to be there because the place produced so much music that I loved – Cabaret Voltaire, The Human League, Heaven 17, Clock DVA, Vice Versa/ABC, Chakk, Hula, Krush, Sweet Exorcist, LFO… I could’ve made a case for studying in Manchester, what with New Order, Factory, The Hac and all that, but there wasn’t anywhere that made electronic music like Sheffield. I don’t know why I felt I needed to be there, I think I just wanted to breath the same air. In my first few days I discovered I was living a few doors up from Phil Oakey when he waved me across his drive while waiting to pull out in a Jag. And with that I felt vindicated.

Let’s get on with it shall we. As always, so much good music awaits.

Happy reading. I’m going to pack my things and go.

Neil Mason, editor
moonbuildingmag@gmail.com

Issue 85 Playlist: Listen

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CURTAIN TWITCHER ‘Analogue Epilogue’

The Sheffield kick continues. How much Sheffers talk can I get in one newsletter? Good question. Whenever I’m pointed towards new music coming out of the city I will always listen. Of course I will. Last week we had DIMITRI, this week it’s the turn of Curtain Twitcher. I was only thinking earlier when I got an email about Car Seat Headrest why bands can’t be arsed with names anymore and here come Curtain Twitcher. Made me smile anyway.

You get the feeling that the duo of Sophie Toes and Grace Griffin (more brilliant names, Toes!) would interview well. On their Bandcamp page they say “We’ll talk about pretty much owt if you provide the tea and cakes”. What an invitation. And their sound is described in the notes as a “corrupted, downtempo post-Balearic chug” that “pulses and wobbles, throbs and twitches” and is “full of fat noises and bolshy Moogery”. Bolshy Moogery! Nice. They also namedrop the likes of Delia, The Tangs, Kraftwerk, Cluster and krautrock. You love them already don’t you?

I will be telling you more when their debut seven-track album ‘Leap The Dips’ lands on 7 November, it couldn’t be more Moonbuilding if it tried. Wait until you hear album closer, the eight-minute psychedelic swirl of ‘The Fourth Door’. You’re going to be falling for these two. Hard.

For now though, revel in the dreamily upbeat ‘Analogue Epilogue’, which I loved on first listen. It has something of the Philip Glass about it. Along with the namedropping above, these two clearly know their onions.

curtaintwitcher.bandcamp.com

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A’BEAR ‘Altered Fetes’ (Castles In Space)
I think I’ve said this before, sorry if I am repeating myself, but the first time I met Janine A’Bear was in an army camp in the middle of Salisbury Plain, which is not something you get to say every day. It was August 2019, the location was New Zealand Farm Camp military training facility in Wiltshire, which was the scene of The Delaware Road’s Ritual And Resistance festival. Among the concrete bunk houses and “stone tents”, there was a feast of electronic and experimental musicians, artists, filmmakers and record labels holed up for a weekend of ripping entertainment. I was there with Electronic Sound and we’d set up home on the ground floor of one of the venues so everyone going to see the acts playing upstairs had to walk past us. It also meant we didn’t have to go far for some quality entertainment. Cunning on both counts.

On the bill that night, a name new to us. A’Bear. I’m happy to report that Janine caused audio mayhem in the room that night, which is exactly what you want to do when the music journos visit. Been writing about her ever since really. How to describe what she does? Her people say she’s a “multi-continental psychedelic electronic musician, composer and DJ making riffy cosmic polyrythms weaved between melodic and dreamy layered loops”, which is fair. Looking back at a new artist piece I wrote about her after the Delaware Road event, this section tells you much about her sound. “As a child, she became frustrated with how ‘black and white’ learning the piano was, much preferring playing by ear and ‘doing things freely without a right or wrong’. A rave obsession in her teens led her to electronic music”.

The thing with A’Bear (South African-born, Brisbane-raised, London-based if you were wondering how multi-continental) is you never really know what to expect. Her two albums to date, 2020’s ‘Ear Of The Heart’ and 2024’s ‘Glammy Racket’, are different beasts and with ‘Altered Fetes’ she twists again. She does have a sound all of her own. It’s like a wild animal, as capable of an elegant prowl a safe distance away as it is pouncing at close quarters and tearing your head off.

Opener ‘First Burst’ is like a siren going off, not a squeaky car alarm, this is a full-throated alert that some very, very big doors are closing, in deep space, and when they’re shut you are not getting out. It is an end of the world kind of sound. An ‘Event Horizon’ kind of sound. And then it gets funky. Of course it does. It shimmers and then pulses. It’s almost like techno, almost. There’s a pounding beat emerges and a swell of sound that pulses in time, in rhythm, that slowly morphs back into the siren. That siren.

I was going to say that ‘Altered Fetes’ shows a more of the cuddly side of A’Bear, the elegant prowl side, but that opener puts paid to that. The record doesn’t let up either. ‘Safe And Sound’ has a real menace about it. There’s singing on it too. “Safe And sound / Speak, hear, sit, jump, leap / Sew the seeds / Fresh freedom breeds peace”, nope, me neither, but it’s presented as a round, with multiple voices that make it sound very ethereal. I love the hectic drums at the end, shame they don’t go on for longer. The return of the drum solo!

The reason I mention the cuddly side of A’Bear is that ‘Altered Fetes’ is kind of a record of two halves. The first side is more hectic, darker, frantic, while the B-side is calmer, more psychedelic, trippier for sure. It starts with the wonderful ‘Chakra Check Up’ that sounds like it’s channeling Can. I know, right. There’s such a lovely, tight hi-hat keeping time and then the synths kick in. Rich, warm and sqidgey, they swirl like a whirlpool around you. It’s an entire two minutes before the thud of a bassdrum arrives and a slew of squally synth sounds rock up. I hestiate to say, but one of them sounds like a digeredo. I know, sounds awful, actually isn’t at all. ‘Psychic Weave’ gets funky. It’s the drums again, there’s a bright tsk-tsk-tsk underpinning, which feels very Sabres Of Paradise somehow and over the top there’s some real trippy synth squibs.

This record is A’Bear all over. You have no idea what will happen next, but once you’ve started listening, you are locked in for the ride. The closer, ‘What Remains (Pure Belter Instrumental)’ is, well, a pure belter. Clocking in at nearly 10 minutes, it’s in the sleek prowl category. The drums again are great, sounding a bit Peter Gabriel, the whole track has a ‘Birdy’ feel to it. High praise. One of my absolute favourite soundtracks. What I really like is how it builds and builds and just when you think it’s going to explode it does the opposite, it drops out. Not stops, but quietens itself down, unravels. Lovely stuff.

Like all the best artists, with each album A’Bear just gets better and better. I loved last year’s ‘Glammy Racket’. I said it felt like her “most complete and accomplished work to date” and “moves from the dancefloor-fuelled clang and clatter of the title track to the swirling Moroder meets Workshop of ‘Conjure’”. It was good, really good. This is better. Another step up the rungs for A’Bear.

castlesinspace.bandcamp.com

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GOOD STUFF #1
THE LEAF LIBRARY/VARIOUS ARTISTS ‘Flowers At The Border’ (Objects Forever)
Subscription libraries are funny things. I totally get it, they provide much-needed assurance for the label and artist. Everyone knows exactly how many of something they’re going to be shifting and for those who are members they’re getting access to an exclusive club. This releases generally aren’t even heard outside of the club, no streaming, no Bandcamp, which makes it all a bit special. Unless you’re on the outside and you don’t get to hear these releases for whatever reason – cost, over subscribed, etc etc. I’ve always seen them as double-edged swords. Moonbuilding Weekly is kind of the same, except the other way. I could put it all behind a subscription wall, but that would limit the audience I’m putting all this fine music in front of. Which is the whole point and why we’re driven by ads.

So The Leaf Library were asked to make an EP for the long-running CiS Subscription Library. The band duly served up the excellent ‘The Long Dead King EP’ in 2024. Of course, for these things to work you need a period of exclusivity, a year, or whatever, so that people handing over good money, which in turn is supporting the artists and labels in question, feel the exclusive love. Why not, makes sense. The Leaf Library being the lovely people they are know all this and wondered how they could share a version of their excellent release without narking off those who had parted with the harded-earned while at the same time giving those same people something new too.

The result is this equally brilliant remixed version of the EP, released on their own label, where they enlist a bunch of friends to offer up some cracking reworks. The title bears thinking about in these troubled times. The original EP track, ‘Flower At The Border’ “contrasts invisible gas, flowing (mostly) freely over borders – even during times of war and between nations otherwise in conflict – with restricted peoples; hemmed in and harrowed, unable to cross. Flowers at the border for those that tried and failed.”

Give those people a thought today.

The problem with remix albums is they often have such a wide range of styles that they feel disjointed, clunky somehow. Not with The Leaf Library. There’s a lovely flow here even though the remixes span “clattering modular synth workouts, minimal electronics, looped and twisted drones, through piano house and gentle ambient washes”.

There’s two versions of the title track, ‘Flowers At The Border’. The record opens with our good friend Polypores’ remix. It was our Track Of The Week a little while back. It clocks in at three minutes and 42 seconds, a pop song in Polypores terms. It has a lovely arpeggiating melody and comes fitted with beats as much of his current work does. C’mon, it’s Polypores, what’s not to like? The second take is from Detroit’s Kristen Gallerneaux, which is wonderfully rich folktronic-y kind of track. More of Kristen will be in order after hearing this.

There’s a version apiece of ‘Scanning The Open Sea’ and ‘I Learned To Swim Under Water’, the former a breathy soundtrack like tip-toer from Margate-based Leaf Library collaborator Melinda Bronstein, the latter a swooping and sweeping ambient chiller from Berlin-based Inner Space Travels label boss Tiago De Almeida.

And then there’s three versions of the original EP’s title track, ‘The Long Dead King’. There’s a sleek, Latin-flecked melodically minimalist offering from Mücha, London sound artist/composer Amanda Butterworth, an uplifting choppy piano house floorfiller from Galaxy Brain, London’s Helene Bradley, and, well, there’s the best track here by Basic Design… which is The Leaf Library’s Matt Ashton. Basic Design is “mostly a remix project that focuses more on the minimal, beat-driven end of things”. Boy does it. His rerub of ‘The Long Dead King’ is flipping brilliant. It sounds like something ESG or Liquid Liquid would have kicked out of downtown 1970s New York if they were packing Rolands. The cowbell! The tsk-tsk-tsk hi-hat! The bassline! If you’re up for an explore, there’s not a lot in the Basic Design canon yet, but there are a few bits and bobs to discover. Top of my list would be ‘Basic Design’s Reverent Roller Disco Mix’ of Numun’s ‘Reverence’ on the DIY CD I curated for Electronic Sound Issue 121 back in Jan. Incredibly not sold out. Talented chap is Matt and this is a cracking little collection.

objectsforever.bandcamp.com

GOOD STUFF #2
JQ & RICHARD PIKE ‘Tessera’ (Salmon Universe)
I’m a big, big fan of Joe “JQ” Quirke and Richard Pike’s Salmon Universe label. I love how labels have their own sound, their own identity, Salmon Universe certainly has that. Up and running since 2018, the plan was that there wasn’t a plan. Richard says he just wanted a place to release his solo work and be in control of it himself. A mutually appreciative meeting of minds with Joe, who was keen to bring other artists to the label, solidified things and a label was born. With a remit to release “beautiful music”, the pair also like a challenge, “things that we feel are unexpected or distinct in someway”. Which is as concise a summing up of their label as you’ll get. There is much to love in their back catalogue, an early collection, ‘Salmon Universe Volume 1’, will give you a good taster, but these days the label runs a line from the more lively end of things like IHHH and Dangerwank (yes, really) to the avant-experimentalisms of the most recent release ‘Endless Joy’ from Luke Abbott, classical vocalist Lotte Betts-Dean and the FX-splattered sax of Jack Wyllie.

With ‘Tessera’ the big chiefs mark their 20th release by showing everyone how it’s done. It’s an outing that also marks a few firsts. It’s a debut collaboration between the pair as duo (they work solo and make up two-thirds of Forgiveness) and it’s the very first vinyl offering on the label, which until this point has been all cassettes. “‘Tessera’,” say the notes, “drifts between texture, frequency, and impermanence – sounds that surface, demand attention, then vanish to the back of the room.”

I like ‘Promise’ and how the drifts and drones have a ‘Twin Peaks’-y feel to them. It’s a gentle, tuneful offering that swoops and sweeps in the right places. It does of course demand the attention with the noises off, you’re not quite sure what they are as they clank dischordly in the backgorund. Likewise, the snuffling at the beginning of the brilliant ‘Tessera (Suns)’, which was a Moonbuilding Weekly Track Of The Week not all that long ago. It has this echoey distant rhythm that’s streaked with sound passing by like jets streaking across the sky.

A lot of ‘Tessera’ is like this, as they say, sounds that surface, demand attention and then vanish. ‘Gaia’ has an underlying shimmer that you can’t quite get hold of, it’s almost like The Orb, but way off in the distance. And keeping it obscured (or Orbscured) are little Jack-in-the-boxes of noise, squibs and squiggles, that spring up briefly.

It’s a gentle record, something that’ll play nicely in the office early doors, but do keep your wits about you as it can bite from time to time. The shimmery ‘Angelman’ is like distant lifeforms communicating, increasingly loudly, until, pop, it almost vanishes from view in a fade you have to focus on to hear. And then it goes to the other extreme on ‘Free’, which batters the doors down with swift beat, a very satisfying thud of bass sat over the top of gentle washes of sound. The beats drop in and drop out so watch it.

Congratulations on release number 20. Here’s to the future gents!

salmonuniverse.bandcamp.com

GOOD STUFF #3
ANDREW TASSELMYER ‘Signal’ (quiet details)
It’s interesting how themes seem to repeat themselves here, especially when releases in the same week seem to align. Baltimore’s Andrew Tasselmyer has had a slew of outings on a plethora of labels over the years and it’s only right and proper that he comes to the quiet details party with a work that he explains shook him out of a period of buronout and creative brain drain.

“‘Signal’,” he says, “came together unexpectedly over the course of 2-3 month this spring and summer during my morning commute to work.” He say he didn’t have an album in mind and was just recording, letting what was happening around him happen and capturing it on whatever he had to hand, phone, laptop, tablet. Recorded almost entirely in transit, he describes the process as not so much composing as shaping. To which I relate. As a writer you can often find little is forthcoming and you just have to believe, usually just by writing for the sake of it and letting the magic take hold. You can see how that might’ve been the case here because there is surely magic at work. “The music blends synthetic tones, sampled fragments, and found sounds, layered into dense environments,” offers Andrew. “On the surface, the tracks sound relatively simple, but underneath are countless small shifts and details.

The tracks, four of them, are long, between eight and 10 minutes, and the whole thing, like the Salmon Universe offering, will sit proudly in your room. ‘Current’ is a full-bodied shudder of a track. A drone that builds and builds and leaves itself at its peak making this huge sound that at the same time feels totally calming. Closer ‘Trace’ is a proper tour de force. It’s almost not there and yet full the brim at the same time. It has this deep growl to it, the sort of noise you hear in films as vast craft judder through deep space, like… where did we hear that already this week? A’Bear? And then from underneath it all come these strings, warm and sleek and joyous. At 10 minutes it doesn’t seem nearly long enough. Lovely stuff.

quietdetails.bandcamp.com

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THE ROUND UP’S ROUND UP

OK, so last week’s experiment was interesting. There were three longer Good Stuff reviews and seven shorter pieces in the round-up. The newsletter was the same length as it is every week, so I dunno. I can write long or short and it all ends up the same ion the end! Guess I’ll just keep going, see what feels right and do that, eh?

I tend not to write about singles and EPs, not becasue I don’t want to, but because there’s not enough hours in the day to cover off all the albums. Paul Broome’s Warmfield made a convincing argument for their latest offering ‘Barbara & Henry’ (DIE DAS DER), which he calls a mini-album. “I’ve gone from doing 23 short tracks on the debut album to these two 10-minute monsters,” he says. We’ve had this discussion before I’m sure. “I’m calling it a mini-album,” explains Paul, “because in my mind an EP needs at least four tracks, and it’s too long to be a double A-sided single.” He’s right that an EP is four tracks, quite where an album and mini-album start is anyone’s guess. I’m betting it’s not two tracks though, no matter how long each track! Cheeky. So these two epics are tributes to Paul’s favourite sculpters and “West Yorkshire heroes”, Barbara Hepworth and Henry Moore. It’s such a well thought through project is Warmfield. I love how he keeps the overarching West Yorkshire theme while continuing to broadening his scope. “I came across a couple of old TV interviews with them on YouTube,” says Paul, “and their words just started the ideas firing.” The tracks are great, ‘Henry’ is especially good, like a super mellow version of Daft Punk’s ‘Moroder’ with the narration and the way the lovely melody explodes. Don’t everyone else start getting ideas about how you can sneak singles and EPs past me. I’m wise to your ploys.

Matt Smith’s Mortality Tables label is getting back up to speed after bringing the curtain down on its long-running Lifefiles series this summer. The latest offering, Xqui’s ‘One Enchanted Evening’, is one long 45-minute track that takes you into the world that balances between awake and asleep. Ever since I studied it at A Level, I’ve always seen Dylan Thomas’ ‘Under Milkwood’ as doing exactly what Xqui is after here. It always saw the epic poem as existing in a world teetering on the brink of sleep, hence all the odd goings on. I can’t remember if that’s the case or not, I must look it up. And I must dig out my recording of Richard Burton reading it. Thanks for the reminder Xqui. So influenced by ASMR, ‘One Enchanted Evening’ is collaborative, which is a real strong point of the label, with the artist inviting a number of people who have been pivotal in the evolution of Xqui over the years to contribute audio on the theme of what goes through your mind prior to drifting to sleep. So Ryan Hooper, David Ness, Bettina Schroeder, Simon Tucker, Ash Cooke, boycalledcrow, Kat Five, Obeah, Mat Smith, Andy Wood and Harry The Cat, who I hope is a real cat, all lend their thoughts. There’s a lot to take in here, but it is one of those releases you can just pop on and let it dip you in and out. It’s skillfully woven into the one, long piece and there’s some great stuff within. I have to admit I have little idea who’s who, other than Mat whose voice I know. He talks about not really dreaming as he doesn’t get enough sleep for that, but when he does he dreams about putting the bins out. Poor Mat. The gentle, softly spoken words about mattress care early on really made me smile. I suspect from the accent that’s East German, London-based multidisciplinary artist Bettina Schroeder. And Harry The Cat? Well, I think that’s purring at the end, so a real cat then. Nice touch.

Drummer Will Glaser’s snappily titled ‘Music Of The Terrazoku, Ethnographic Recordings From An Imagined Future’ (Not Applicable) is quite a piece of work. It’s a double album of “experimental, free improv, electro-acoustic soundscapes, and avant ambient music – imagined as a mixtape/sound artefact from a post-climate collapse future”. Blimey eh? It’s Will’s first album composed and produced by himself and it features a raft of guests from the UK’s improv/noise/DIY scenes. We’re talking people like bass fiend Ruth Goller, Irish improv singer Lauren Kinsella and improv guitar maverick and Red Snapper collaborator Tara Cunningham, all of who you should check out immediately. Will drops some great names as influences, the likes of Harry Partch, Tom Waits, The Residents, dark ambient/industrial metallist Justin Broadrick and Gavin Bryers to name a few. The album is rather lovely. What with it being on Not Applicable I was readying myself for some intense listening. And what with Will being a drummer I imagined all sorts. But not a bit of it. It’s a rather beautiful piece of work. A track like ‘Sunshower’ is a very delicate shiver of a track, like an audio windchime, shimmering in the breeze. ‘Illusions Of Abundance’ is more gritty with a lolloping rhythm and cranky guitar welcoming reminding us of Tom Waits. There’s been two singles off the album upfront of this full release. If only we still had a functioning Top 40 and ‘Top Of The Pops’. A new entry, in at number 14, it’s Will Glazer with… There is a lot to discover here, I fear on first listen I’m not even touching the sides. This one will be going back on the Moonbuilding stereo a few times yet I figure. It comes as a rather great looking double cassette boxset in an edition of 55 so chop chop.

And talking of themes. The name Euan Alexander Millar-McMeeken seems to be recurring. I had another album by him this week, a collaboration with US-based multidisciplinary artist Jesse Narens as Bird Battles, which is rather good. That’ll be included in next week’s wise words. For now though here he is as Glacis ganging up with fellow Whitelabrecs artists Polaroid Notes for Glacis & Polaroid Notes ‘Time Is Coming To An End’ (Whitelabrecs). They first began exchanging ideas and sound fragments for this record in 2022. While both artists are grounded in the piano, they let this record breath and develop in its own time. And it shows. Nothing is being rushed here, it’s all very measured and thoughtful.

One last one for today and it’s not our usual fair. СОЮЗ (SOYUZ) ‘KROK’ (Mr Bongo) might be a bit shouty with all those capital letters, but the gentle songwriting skills on show here are delicious. Alex Chumak and his band hail from Belarus, but due to the conflict between Russia and Ukraine found himself relocating to Warsaw. This is their fourth album and it says here it’s “nine songs about dreams and outer space, ordinary miracles, things very close and distant at the same time”. So there you have it. You wouldn’t know this just listening because Alex recently changed the language in which he writes songs to his native Belarusian. Not that you’d have understood much previously as he wrote in Russian. Any Belarussian speakers here? Russian speakers? Good good. A track like the gently uplifting ‘Калі ты запытаеш’ is a treat. Again, we have connections. The “restricted peoples; hemmed in and harrowed” from The Leaf Label review? Well, they’re right here and they’re making life-affirming music depite circumstances. I really love the ‘Voo Livre’, which sounds like Vince Guaraldi penning 1970s TV theme tunes. Wonderful. All power to them.

MOONBUILDING ISSUE 6 … SOLD OUT

Holy cow. MOONBUILDING Issue 6 is totally sold out, so it isn’t available from moonbuilding.bandcamp.com Sure someone will try cash in via Discogs soon.

Let’s look at what you missed, although it is still avaialble digitally of coures. Our cover star, illustrated by the peerless Nick Taylor, is the unstoppable force that is LOULA YORKE. In our bumper interview we talk about how she got here and where she’s going. As usual, it is an in-depth piece that lifts the lid on the brilliant mind behind the excellent music.

We met Loula at her home in Suffolk where we have a proper rummage around in her world, musically, humanly, psychologically, probably even a bit metaphysically. It is a cracking read and really opens the doors on what makes this most remarkable artist tick.

As always the issue comes with an accompanying CD. This one is a Loula Yorke collection called ‘How Did We Get Here’, which is compiled by artist herself and charts her rise and rise. The resulting 11-tracker will take you on a journey through her career to this point and it is utterly, totally, absolutely, exclusive to Moonbuilding.

Elsewhere, there’s a great chat with Clay Pipe Music supremo Frances Castle as we profile her wonderful label, A’Bear 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, which feature Loula Yorke, Warrington-Runcorn New Town Development Plan’s Gordon Chapman-Fox, Cate Brooks, 30 Door Key and Sarno Ultra.

We talk to ‘This Is Memorial Device’ author David Keenan about ‘Volcanic Tongue’, his debut collection of music writing. He is one of the last generation of music writers who could actually call themselves as journalists. He talks a lot of sense and his work is a shining example of what music writing should be. It’s an unmissable interview.

Elsewhere, we round up an absolute mountain of recent releases and point you in the right direction of some mighty fine independent magazines and books. The Orb’s Alex Paterson tells us about his ‘Top Of The Pops’ experience when he appeared on the legendary show performing ‘Blue Room’ in 1993. I say performing… There’s a new Captain Star cartoon strip from the brilliant Steven Appleby. I constantly have to pinch myself that this strip, that I first read in the NME in the early 1980s, is now in our little magazine.

The shop doors are open at moonbuilding.bandcamp.com for your pre-ordering pleasure. This issue has a short print run and will sell out fast. Do not hang about.