Hookland art by Maria Strutz
Hookland created by David Southwell
Radio Free Hookland : December 23rd 1973
by The Ephemeral Man
“There are a lot of radio freaks in Hookland. Dial twisting to tape number stations. Following rumours of dead frequencies where signals bleeding from lost pasts or futures might come through. Even dark station junkies who claim the dead are in shortwave static. – #MattAdams, 1980”
On Tuesday November 13th 1973, Morris “Mojo” Johnson was admitted to Weychester General hospital, to be diagnosed with and treated for Legionnaires’ disease. Johnson made a full recovery and was back on the air at Radio Free Hookland from the 3rd January 1974, but that meant that in all there were 51 nights of the “Mojo’s Graveyard Shift” slot that had to be filled. Broadcast engineer Thomas Giles was tasked with picking archived Graveyard Shift episodes to re-run. Listeners were treated to many classic sessions including one by Tumulus, two by Broken Minds (one when the band had just changed its name to The Rabble), and no less than six strange happenings by Dave Padbury and his band Phase Generators (who would later become Phase Count).
However, on 23rd December, Thomas decided to air something different. An amateur radio enthusiast, his pride and joy was a R1155 radio receiver used in an Avro Lancaster Bomber during the second world war, which he had kitted out in the back of his 1968 Ford Transit Custom Mk1 Camper van. He often roamed Hookland for sweet spots where various strange transmissions might be picked up, favouring coastal areas or the Straker Hills. The recording Giles played that night was a confusion of static, music, report, fiction, and lifestyle.
The station received a large volume of complaints from confused listeners who demanded to know what they had been subjected to. Many thought it an elaborate hoax – the broadcast seemed to include sounds from the past, present, and future – whilst others believed there to be important information encoded in the broadcast, perhaps transmitted by alien or transdimensional beings. Several listeners reported “uncanny” feelings during and after listening. When questioned by the Hookland Messenger, Thomas Giles gave a statement insisting that the broadcast was a direct recording of a continuous transmission picked up on his R1155 radio receiver and had not been doctored in any way other than to overlay periodic “Radio Free Hookland” audio idents throughout for airing.
The broadcast was never repeated, and Giles kept the original recording (and, apparently, many others like it) to himself until his sudden demise in an unfortunate home inferno in 1975. However, several cassette recordings were made on the night of the broadcast, and it is through the preservation of one of these that I am able to present the recording in its entirety to you now.
00:00:07 – Re-enchantment audio ident by Lee Williams
00:01:18 – The King Tide by Dark Leaves
00:07:53 – Emily Banting by Phil Hine
00:09:53 – Walking in the Sun by Tumulus
00:16:55 – Vibrations on Sea II by Bellprover
00:25:04 – Bounce audio ident by Richard Andrews
00:29:24 – The Queen of Owls by Maria Strutz
00:30:11 – Goodnight Goliath by Richard Andrews
00:33:39 – Circuit Variations • Hookland Winter by l.m.n.s. / Nathan Downs
00:47:42 – Other Half audio ident by Richard Andrews
00:50:59 – Chapel by Andy Aquarius
01:02:40 – Emily Banting by Phil Hine
01:03:23 – Tommy Dodd by Richard Andrews
01:09:54 – Crawling in the Moorland by Tumulus
01:15:29 – Incidental Music from episode 4 of the 1971 Hookland Associated Television
children’s TV series ‘Beyond The Barrow’ by Wesley Wakefield
01:19:07 – Emily Banting by Phil Hine
01:20:01 – RFH1/Machine audio idents by Richard Andrews
The Ephemeral Man
Lee recommends these folklore and magick-related roleplaying games:
(pretty much Hookland/Repton in game form)
I’m Patrick Aston and also Dark Leaves. Dark Leaves is a solo project creating alternative folk songs of the land and sea where I live, on the West Cornwall coast. I’m married to Sharon who’s an incredible photographer. We have 2 grown up children; our son is working in the music business, having just finished a degree in Music Business last year, and our daughter is at Uni doing a medical degree.
My music is earthy and atmospheric but also quite dark and on the alternative side of folk. I combine acoustic guitar playing with electronic and drone influenced soundscapes and hypnotic beats to make Dark Leaves.
My song writing inspiration comes primarily from being here at home in Cornwall. The sense of place I feel here is above all else and created by many memories, feelings, and emotive bonds. The folklore of Cornwall’s seas, woods, moors, hills and pagan seasonal festivals is an endless source. Another source of inspiration comes from the wonderful ‘Hookland’ twitter account. There are 2 songs on my new album that are 100% inspired by Hookland; ‘The King Tide’ and ‘The Queen of Owls’. The very lovely David Southwell (Pah! He would say), who discovered Hookland, co-wrote the lyrics of ‘The King Tide’ with me, via a fantastic poem he sent. Hookland is really the only reason I have Twitter. Hookland is always close by, just an altered memory away. It’s just around the corner of the lane or just over the hedge when I’m out walking the dogs at night. It’s in the fields, in the powerlines, in the cliffs and under the sea…
Phil Hine is an occult author and independent researcher. His latest obsessions can be read at http://enfolding.org He currently has 4 books in print, available direct from the publisher: http://originalfalcon.com/products.php?a=phil_hine#section_books…
By the time of the Starfall Free Festival in 1972, Tumulus were already no more. Founder member Gordon Stranger was in the midst of his odyssey in the wilderness and would not form Kraut-sludge chancers Bogquake for another year.
Tumulus had formed in the heady summer of 1969, essentially the group consisted of guitarist and singer; Stranger, multi-instrumentalist; Pat ‘Flowers’ Bouquet and a rolling cast of hangers on and camp-followers drawn from the hazy depths of the Hookland underground. Although Stranger made great efforts to align himself with the enigmatic Pylon People, many think this was as much posturing as a true commitment to The Hum.
In April of 1971, with his typical disregard for the consequences, Stranger poured all his savings into a day’s studio time at Ashcourt’s Fractal Sunrise Studios. Gathering their instruments and whoever was around Stranger and Bouquet recorded these two acid folk/spaghetti western homages to the Hum and to the folklore of Hookland. ‘Walking in the Sun’ and ‘Crawling in the Moorland’ were both based around the 50Hz mains hum that pervaded the ramshackle studios and, rather than try to irradicate it, the group used it as an underlying drone on both tracks.
At the end of the day the group emerged believing that they had tapped into both the Hum and the zeitgeist but it was not to be. Despite shopping the tapes around every label in the county, Stranger was unable to find anyone willing to press the single. It was eventually released as a 7” in Germany in the mid-1980s, but by then Stranger had already vanished again and the rest of the group had faded into family life and relative normality.
It is not known if any of the twenty-five 7” singles survive but Gordon’s son, Gary, recently unearthed the originally masters whilst searching his father’s archive in preparation for the Null shows he played in 2016 and here they are. The last and only document of Tumulus.
Bellprover is an electronic music project from musician/producer/DJ and curator of The Sonik Youth Club Douglas E. Powell. Over the past 2 years Bellprover has become Douglas’s main musical focus and direction. Placing to one side his band The Rising Spirit, acoustic guitar and notebook of lyrical ideas in favour of the Korg Monologue Monophonic Analogue Synthesizer and collection of vintage effects pedals.
I have always had a fascination with electronic soundscapes, metronomic rhythms and weird sound effects, so after a series of collaborations and the release of the 2018 Seatman & Powell, Broken Folk EP (KS Audio/Belbury) featuring myself, Keith Seatman and Jim Jupp (Belbury Poly/Ghost Box Records) and the 2019 Keith Seatman LP Time To Dream But Never Seen (Castles in Space), where I contributed a series of poems to accompany Keith’s soundtrack. I began to start composing my own music as Bellprover.
During the first UK lockdown (2020) I had no live shows to play so I concentrated my time on putting together a home studio and started working on some ideas that eventually became to six tracks now available via Bandcamp.
I use mostly use analogue recording techniques, layering live multiple synths tracks and sound effects over basic drum machine patterns and looped sequences. I’ve never used a computer to record, mix or edit, I’ve never really needed or wanted to. I’m comfortable using my cutting edge early 90’s technology.
The track I have selected for you to play is Vibration On-Sea. A track inspired and influenced growing up a teenager and young adult in the UK seaport city of Portsmouth. Let’s take shelter from this South Westerly gale in one of the many dilapidated Victorian wind shelters along the promenade at Southsea where the ghosts of a long forgotten imagined Victorian opulence mingle with the smell of urine, salt spray and pealing layers of lead paint. Sit a while, behold the view. On a clear day you can just about make out the Isle of Wight. Did you know, they set fire to South Parade Pier whilst filming Tommy. You always tell me that when we sit here. Do I? I’m so sorry.
Download tracks by BELLPROVER at www.bellprover.bandcamp.com
“When he’s not leading a SEN Forest School, Richard Andrews researches local history, folklore, legends and landscape on a protracted, trickster-tormented psychogeographical quest.”
Maria Strutz is an artist, printmaker, sculptor and translator. Frequently communing with the Queen of Owls in Hookland. Some of her work can be found at her shop: https://maria-strutz.onlineweb.shop
The Hookland pieces came about quite naturally initially, I had been learning how to “make” music last year in lockdown. I’ve always been a fan of ambient music and have known David for a few years now; I absolutely love what he has created with the county of Hookland, and wanted to add something once I’d gotten the hang of mixing etc. I’m not a musician, producer (it’s strictly amateur night!) but it’s a nice distraction to go and make some sounds and a means of keeping myself from too much inertia..
Born in Staffordshire, studied art and lived in Edinburgh for most of my adult life, moved to Liverpool a few years ago. I gave up painting and exhibiting full time in 2003, by the time my second child was born and had to take up more economically rewarding employment as most of us have to 🙂 somehow I found myself in advertising/magazine publishing and worked for many years with airlines, which meant a serious amount of travel and a lot of constant motion. I have lived and worked in Amsterdam, Mexico, Thailand, Singapore, Gozo (off and on since 2015) and have been really so lucky in all areas of my life, a long lasting marriage, two wonderful children and some very old and close friendships.
I had a number of motorcycle accidents over the years (turns out I’m not Steve McQueen!) and the last one seriously damaged discs in my neck and spine, which has meant reduced movement in my right arm and my ability to paint and draw as well as I used to, I trained in sculpture and I’ve been mulling over, rough sketching ideas for some site specific installations here in Liverpool, and the Hookland sound pieces are probably going to figure as an integral part of that.
My name is Andy. I’m a multi-instrumentalist and singer with German and Croatian roots. I’m performing on a self-built Celtic Harp (Andy Aquarius), record ambient music (Ozbolt) and play in a psychedelic rock band (Swan Valley Heights). I sometimes do film scores and appear in other bands and projects on different instruments. I have an email newsletter titled ‘The Aquarian Herald’ that I send out every 2-3 months or so and you should definitely sign up: email@example.com, I’m giving updates on my creative work but also add plenty of tips & tricks on how to survive the New Age.
Wesley Wakefield, was the in-house composer for many of Hookland Associated Television’s (H.A.T.) programmes. His compositions often blended traditional acoustic instruments with early monophonic synths and were noted for their repetitive minimalism. He had famously applied for a position at the BBC Radiophonic Workshop in 1962, but was turned down for being ‘too folky’, a lost opportunity he resented and bitterly complained about until his untimely death by electrocution while working in his home studio.
I’m Patrick Aston and also Dark Leaves.
Dark Leaves is a solo project creating alternative folk songs of the land and sea where I live, on the West Cornwall coast.
I’m married to Sharon who’s an incredible photographer. We have 2 grown up children; our son is working in the music business, having just finished a degree in Music Business last year, and our daughter is at Uni doing a medical degree.
My music is earthy and atmospheric but also quite dark and on the alternative side of folk. I combine acoustic guitar playing with electronic and drone influenced soundscapes and hypnotic beats to make Dark Leaves.
I played guitar in a goth band in the late 80s / early 90s and in 1995 I wrote an ambient techno album recorded under the name of ‘Paranonia’, and released through the Nova Zembla label, which was a sub label of KK Records of Belgium. I was massively into UFOs at the time so there are some samples from a few films…”I saw the moon come down last night, I saw it touch the ground” – I’d welcome any thoughts on what film that’s from as I’ve forgotten…maybe ‘Fire In The Sky’ https://paranonia.bandcamp.com/releases
Through the goth and my brief venture into electronic music, I’ve always maintained a passion for acoustic guitars and the starker sounds of folk. It’s a combination of these things coming together that makes Dark Leaves, although more heavily weighted towards psych/indie folk.
My song writing inspiration comes primarily from being here at home in Cornwall. The sense of place I feel here is above all else and created by many memories, feelings, and emotive bonds. The folklore of Cornwall’s seas, woods, moors, hills and pagan seasonal festivals is an endless source.
Another source of inspiration comes from the wonderful ‘Hookland’ twitter account. There are 2 songs on my new album that are 100% inspired by Hookland; ‘The King Tide’ and ‘The Queen of Owls’. The very lovely David Southwell (Pah! He would say), who discovered Hookland, co-wrote the lyrics of ‘The King Tide’ with me, via a fantastic poem he sent. Hookland is really the only reason I have Twitter. Hookland is always close by, just an altered memory away. It’s just around the corner of the lane or just over the hedge when I’m out walking the dogs at night. It’s in the fields, in the powerlines, in the cliffs and under the sea…https://twitter.com/HooklandGuide
I record at home with a very basic set up and try to keep it as simple as possible. I don’t stress too much about the technical side of things because my knowledge isn’t great. I can usually achieve what I want by hook or by crook. I love the recording space I have in the house. It complements the vibe I try to create and provides me with exactly what I need.
Half the songs on my first album were recorded on just an iPad using Garage Band. Since then, I’ve invested in a really good microphone, Logic Pro and a MacBook. I use minimal effects on the guitars. There’s no soundproofing in my room so if you listen to the space in the quiter tracks you can hear all sorts going in the background, mostly the birds in the garden
I have a new single out that was released on 1st Oct 21 called ‘The Edge of the Light’. It was conceived on Rinsey Cliffs, in West Cornwall, while watching the sun set & the moon rise behind me. I’m honoured to have had the haunting and beautiful backing vocals sung on the track by a wonderful musician and artist called Mari Randle, magically weaving her way through the song. https://www.instagram.com/marirandle/
You can listen to my new single on all the streaming platforms and my Bandcamp site as well as my previous album ‘Grey Stone In The Wood’ and ep ‘Forest Flowing’/ https://campsite.bio/darkleaves
I’m blessed to have the wonderful art of Afsoon Shahriari for my new single and album cover.
Angela Annesley, a fantastic Cornish artist, allowed me to use her gorgeous woodcut print ‘Heart of Oak’ for the cover of my ep; ‘Forest Flowing’. My new album is called ‘Laid under leaf, under branches’. I’m really looking forward to sharing these new songs that have been recorded in the last 18 months or so. It has just been released on Ramble Records
Where did you come from and where are you going?
I come from Cornwall and I’m home again now with my wife, after being away for a very long time. I’ve kind of arrived where I want to be. I have a day job and I’m heading towards something that I hope means I can spend less time on that a lot more time on music and the beach!
What preoccupies your mind these days?
My work and family life take up a lot of my brain, and because it’s not a very big brain, what space that’s left has to go on music…whether its listening or creating. I’m working hard to get the balance much, much better! The new album has taken far too long to create. Actual productive music time is precious.
Name a favourite taste, touch, sound, sight and smell.
Taste – red wine
Touch – I bought an old Simon & Patrick acoustic guitar for £40 on ebay which was such a bargain. That’s always great to pick up… they’re hand made in Canada and great value guitars
Sound – the rookery in the big fir trees in our garden and the owls calling into the night
Sight – rough seas during storms in the harbour at Porthleven and watching from the cliffs
Smell – Pasties
Describe one of your most vivid dreams or nightmares
My most vivid and memorable dreams, that have stuck with me, are remembered more as feelings than images. They were reoccurring dreams I had when I was young and were about feeling claustrophobic or really small against massive dark shapes…really hard to explain and quite unsettling, but yeah those ones…
Have you ever had an uncanny experience?
Yes. The first time I had some healing. Through a guided meditation, I was asked to imagine the colour green, which is a healing colour for the heart chakra. I thought I’d put myself above a huge green field to get a good eyeful because my crowded mind finds it tricky to meditate. I lost a few moments and when I came to, my heart was pounding out of my chest, my eyelids were involuntarily fluttering and the person doing the healing is asking me to come back…it was proof to me that spirituality is a thing, and that there’s another level, although I can’t say it was totally pleasant experience.
How does your sense of place affect the way you express yourself?
We live in West Cornwall, about a mile from the sea, as the crow flies. Cornwall is my home. It’s a very special place. There’s a big artist and music community here with lots of extremely talented and lovely people who draw on the magic that’s all around: in the raging sea, the beaches, the hedges, in the massive skies and in the cliffs and headlands…the music I’m writing right now is inspired by all of those things.
It’s a very slow paced lifestyle here and that makes room for creativity. I’ve also been working from home since the covid outbreak last year, and will remain working home. It suits me very well combined with the lifestyle, and has been a massive positive influence on my state of mind and creativity. I’m now able to better fit work around life, rather than the other way around.
What has particularly touched or inspired you recently?
We love being out in the winter storms on the cliffs and beaches. Storm Ciara hit Cornwall in Feb 2020. I took my field recorder to Porthleven to record the sound of the wind and waves in the harbour. I also recorded the sound of the timber baulks in the harbour gate banging to the rhythm of the storm. The recording inspired a Hookland themed track on my new album called ‘The King Tide’. In Hookland The King-Under-the-Sea sends the king tide and he claims all that it touches as his own. Only the payment of a tythe can keep him at bay…The sound of the storm making the baulks rattle and bang in the gate became the drums for the track.
Tell us a good story, anecdote or joke.
I sat next to Robert Plant, in a little coffee shop, with about 10 other people, watching a small gig. He was constantly passing me Indian nibbles to eat.
I am proud to present the 10th annual Samhain Séance:
There and Back Again
01 Siouxsie and the Banshees – Trust in Me
02 Black Channels – She Let Go
03 Louis Carnell – The Fold
04 C.O.B – Heart Dancer
05 Electric Youth & Pilotpriest – Coelocanth
06 Talk to Her – Set Me Free
07 Luke Requena – Metallic Plastic
08 Ghosts of Jupiter – Gustav
09 Vanishing Twin – The Organism
10 Clint Mansell – ATU327A
11 Arushi Jain – Richer Than Blood
Wishing you all good times and catharsis during Samhain!
Listen to ghosts, but do ponder before taking their advice.
Blessings & best wishes – Leigh