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Writer on the edge of time: Michael Moorcock in 1973

JOE BANGAY/DAILY EXPRESS/HULTON ARCHIVE/GETTY IMAGES

A FAIR HEARING FOR MR MOORCOCK

Really appreciated your Michael Moorcock interview in Take 348 [February 2026]; so nice to see some recognition for that strangely unique New Worlds Fair album. The Bon Temps Rouler New Orleans CD was also very welcome (definitely a keeper) and chimed with the only other full album to come from Michael Moorcock & The Deep Fix: Live At The Terminal Café from 2019 on Cleopatra Records. It was recorded in France but its setting and musical flavour is Mississippi, New Orleans Cajun with a strong dose of atmospheric moody surrealism. The characters and narrative of the album tie in with Moorcock’s Southern Fantasy sequence, particularly “Blood”, but like the New Worlds Fair record, Live At The Terminal Café works as its own unique experience.

Thanks also for the celebration of Mani and the Bill Callahan article – I’ve been making do with just the Dream River album for far too long.

Jean-Marc Young-Saletes

DELVING INTO THE DUNGEON

I wanted to say thanks to Uncut and your writer Louis Pattison for the review of Flickers From The Fen’s Stoned In Gielinor III in Take 350 [April 2026]. I’d never heard of the artist before or the genre of dungeon synth, but since I read it I’ve been going down a fascinating internet rabbit hole to learn more about it. Turns out dungeon synth is just the tip of the iceberg: there’s also medieval dungeon synth, fantasy synth, fantasy ambient, forest synth, mushroom synth and even comfy synth, which is like lo-fi New Age music – as well as the “classic” dungeon synth sound that came out of black metal in the ’90s and was pretty much invented by a Norwegian guy called Mortiis.