Jim Jupp is both main music machine in Belbury Poly and a co-founder from the Ghost Container Music label, the last mentioned alongside graphic developer Julian Home. Jupp called his musical task after a provincial British town developed by C.S. Lewis in his allegorical book That Hideous Power and, on the 2006 launch The Owl’s Map, Jupp and Home even went as far as to add a ‘Field Guidebook to British Cities and Villages’ for Belbury Poly. Tellingly, via this field guidebook, the duo celebrated ‘the post battle period [during which] a lot of Belbury was re-planned with the help of some significant modernist architecture like the Polytechnic University, Public Library as well as the impressive Community Fellowship Chapel’ alongside records about regional legends, foreboding Iron Age group ramparts and Neolithic rock circles. ‘Some believe that Belbury can be an uneasy mixture of historic and contemporary’, added the guidebook, perhaps simultaneously explaining Jupp’s project even more bluntly than is in fact required. Reminding the listener most acutely of whimsical future-retroist trio Plone, the music on Belbury Poly produces is comparable to fifty percent remembrances of general public information films, supplementary school chemistry books and old tv styles. Jupp admits to seeking to days gone by for motivation but contextualises his music (which of Ghost Package, generally) as an effort to generate an imaginary globe instead of as a fitness in nostalgia. Music journalist Simon Reynolds offers dubbed Belbury Poly’s sound/visual as ‘hauntology’ as well as the group sound at their most explicitly ‘ghostly’ on ‘Caermaen’ (from 2004’s The Willows), where they suitable a vocal of Lincolnshire folk singer Joseph Taylor from a 1908 cylinder documenting.