Saturday, August 15, 2026

The Bald Headed Walking Club Walk From Todmorden to Sowerby Bridge 14th of August 2026

 



The first rule of Bald Headed Walking Club is don’t get lost. The first time the Bald Headed Walking Club went walking we got lost. Do you know why we got lost? Because we followed somebody with a map. Not just any map. This was an Ordnance Survey map. A map so detailed it contains information that you can use to find outside toilets in rows of terraced housing. The map belonged to the man who’d organised the walk and decided that what we really needed to do was go to Todmorden early one morning and climb and climb and climb until we came to Bridestones Moor from where you can see everything including The Dark Side. Except we were going around in circles. We knew we were going around in circles because we passed a house that must have once been a chapel which had floating from its side two shiny pink balloons, one a two and the other a one. You don’t see that many shiny pink balloons on the moors above Todmorden.  We were lost but a kindly local took it upon himself to impart local knowledge and pointed us in the right direction. The map was put away and we trudged on and down and down and down until we arrived at the back of a row of terraced houses with an outside toilet and the only way we could get back to the road that would lead us to Todmorden was to jump over somebody’s back garden wall and walk down their garden path. Said somebody was watching the racing on Channel 4 and he didn’t seem to mind. Once we arrived in civilisation we had a coffee and decided that we’d had such a lovely time that we had to do it all over again in a couple of months. Except this time without the map.


The Bald Headed Walking club was three then it was four and yesterday it was five but it was too hot to go walking over the moors seeing as how they were tinder dry and it was heading towards thirty celsius and what with there being no shade on the moors because there’s no trees, and have you ever heard of walking parasols? The idea is that we meet up in Hebden Bridge or Todmorden or Marsden, somewhere with a train station and moors above it because one of the Bald Headed Walking Club – who isn’t actually that bald, but comes from The Dark Side – travels the furthest and doesn’t want to sit on a bus for two hours before he starts tramping up hills and over moors. So its easier you see. 


There’s lots of good walking to be had on the moors above Hebden and Todmorden and Marsden and over the last couple of years we’ve familiarised ourselves with a lot of it; Stoodley Pike, Pule Hill, Widdop and Gorple Reservoir, the back streets of Heptonstall and Slack Bottom. The views are magnificent, the legs ache and we talk and talk and talk about music and books and cricket and gigs and what have you been up to and it’s good to see you again and let’s not get lost next time and we usually do get lost but never that lost and if you’re on a side of a hill you can just go down it and eventually you hit the valley bottom and find a road and then you’re not lost though you may have to put up with some traffic noise for a while but you will have been to the top of the moor and made it to the balcony on Stoodley Pike where there’s graffiti going back centuries and pigeons hiding in the narrow, pitch black staircase that scare you to death.


Yesterday we walked along the Rochdale Canal from Todmorden to Sowerby Bridge. The thinking being that there would be shade and places to stop to along the way to eat our sweaty cheese sandwiches and that it would be downhill all the way and that the chances of getting lost must be so small as to be ridiculous. I mean just don’t stray off the path. Keep looking for canal water. We didn’t stray off the path. We met at the train station at ten o’clock and got a coffee from a busy Tod Market that always has rails of oversized Hawaiian shirts for sale outside it. If you’re ever in need of a XXXL bright yellow Hawaiian shirt with palm leaves on it get yourself to Todmorden. I’ve never seen anybody in Todmorden wearing an XXXL bright yellow Hawaiian shirt come to think of it but maybe they only wear them at night? 


Thus began the walk in the bright sunshine. Five men of a certain age with ten miles of canal path in front of them. 


We encountered many sights along the way and talked of many things. Finding your own walking pace means that you can fall into conversation with whoever among the group is by your side and thus the conversation evolves along the way. If a breakaway group gets too far ahead they seek shelter under a bridge or welcoming oak and say hello to passing cyclists and fellow walkers as they wait for those of a slower gait and we all come back together and say things like were you ever at that Bongoleeros gig at the Fenton where Pig was chucking lumps of concrete about and I’m reading Paul Morley’s book about Yoko Ono which is also a book about the rise of the Avant-garde and is pretty good and yeah I’ve just been made redundant and last night I had too many beers in Leeds but I’ll soon sweat it out. We saw lots of Canada Geese including a dead one that was truly honking, canal barges in bloom and canal barges covered in mould, terraced houses whose gardens extended via stilted decking over the canal and a man in a hammock under a tree reading a book. We passed the house where Keith Emerson used to live which is outside a Mitsubishi Factory, walked gingerly over rickety footbridges, sweated buckets and took our hats off where their was shade and wiped out brows because we were in the midst of the country’s fifth heatwave of the year.


Around noon we arrived in Hebden Bridge and sat under shady trees in the park and ate our sweaty cheese sandwiches [me] croissant sandwiches made by the missus [The Dark Side], hand cultured yoghurt ndjua whip on rye sourdough with seed toppings sliced into fingers, no crustsa [Mirfield Maestro] and the rest in the park and take advantage of the facilities. It was nice to sit in the shade and rest our legs and bemoan the rise of the Hundred. 


It seemed that the nearer we got to Hebden the better the condition of the barges. In the more picturesque parts barges are festooned with flowers and all manner of gaiety, ladies sit out on their decks enjoying glasses of wine in the boiling heat but as you make your way out they show signs of not having been moved for decades; small windows covered in grime, faded name plates, peeling paint and rusty bicycles with flat tyres strapped on to their collapsing roofs. Crafty barge owners spread their narrow territory onto dry land with the aid of car tyres, pallets and decking, some have sheds, some become shrines to Timothy Taylors. Outside Sowerby we will pass a boat [not a barge] on its side in the shallow canal, now a home to ducks and insects. 


Onward towards Sowerby passing through Mytholmroyd which has a cricket ground the size of a tennis court and is the same shape as a tennis court. This being a Friday there is no match in progress but I’m making a mental note as to if I should come and watch a game here. Many cyclists pass us warning of their arrival with the tinkling of bells, except for in Hebden where we hear the parp of a car horn as pulled from a 1920s shooting brake – parp parp parp – and the clown behind it wondered why nobody was moving. ‘When I sound my horn I expect you to move.’ It wouldn’t have surprised me if he’d have passed us on a cast iron tricycle or penny farthing wearing a leather flying helmet and goggles – but rather sadly he wasn’t.


It’s agreed that we should call in at the Puzzle Hall Inn in Sowerby for a pint and as if in reaction to this news I notice that my hands have begun to feel rather sticky. I look at them and notice that my red and blotchy fingers are the size of plump sausages. ‘Does anybody else have swollen fingers?’ I ask. Four of us do. We are suffering from what I later discover is heat oedema, a swelling of the veins, the body’s attempt to cool itself by increasing the flow of liquids by widening blood vessels. Oh dear. It’s a good job our walk is at an end. Local Knowledge has us overshooting the escape path to the Puzzle Hall Inn and we have to backtrack slightly and clamber down broken stone steps and there we are on tarmac and the Puzzle Hall Inn is closed until four o’clock which is what the Lead Bald Head had predicted but we laugh in the face of adversity because we are the Bald Headed Walking Club and Local Knowledge tells us that there’s another pub not a hundred yards further down the road, and there is, and it sells Timothy Taylors and I make use of the facilities and run lovely, precious cold water over my hands and the swelling starts to come down. First rule of Bald Headed Walking Club; don’t get heat oedema. 




Sunday, February 14, 2021

Octave Mirbeau and Nurse With Wound. The Last Post.

 




Octave Mirbeau - Un Homme Sensible

Nurse With Wound - Alienations [The Devil’s Interval]


Lenka Lente. Book + 3”CD

ISBN : 979-10-94601-34-1



Let me finish where it all started. With Nurse With Wound whose music I have been listening to for the last ooooh thirty five years or so. Late eighties maybe? Mid eighties? Memories lost in the fog of time. You listen to so much you lose track. What was my first Nurse With Wound album? Probably ‘A Sucked Orange’, maybe that collaboration with Hafler Trio that came out on Staaltape. ‘A Sucked Orange’ I found hilarious; I’m A Frayed Knot, Pleasant Banjo Intro With Irritating Squeak, Scrambled Egg Rebellion In The Smegma Department. I listened and thought to myself but aren’t Nurse With Wound supposed to be dark and scary? Somewhere lodged in the back of my brain was the cover art for ‘Chance Meeting ...’ and that leather clad dominatrix and the thought that only weirdos listened to Nurse With Wound and here was ‘Raymonde Fluffs It’ in which Raymonde fluffs his opening lines. Laugh? I nearly bought myself one. The split with Hafler Trio meanwhile, that truly fried my brain. I had no idea what was going on but I knew that I liked it.


Shortly afterwards I availed myself of twenty nine United Dairies cassettes via Ron Lessard and have proudly walked stride by stride with Nurse With Wound ever since, diving in to the back catalogue and buying new stuff when the chance arose. Until recently when the thought struck me that barring what Lenka Lente have released I haven’t listened to a new Nurse With Wound release for what must be over ten years. How did that happen? How did I manage to overlook what one of my favourite bands have been doing for the last ten years?


I decided to make up for lost time by drawing up a list of every Nurse With Wound release catalogued on Discogs and ticked off all those that I had physical copies of. I discounted the two Nurse With Wound MP3 discs I bought in St Petersburg in 2003 because a] I dislike the Russian and Chinese attitude towards copyright and b] MP3’s are a bit shit. I now realise that far from having everything Nurse With Wound had recorded from inception to the year 2000 and bits beyond I was the proud owner of quite a bit of it with several gaps that needed filling. To fill these gaps I need time and money so for the foreseeable the blog is being put to bed as I venture forth on the good ship Nurse With Wound proudly captained by Steve Stapleton and his crew. Whether I shall ever rouse it from its slumbers we shall have to wait and see. 


In the meantime I’m going to find out what Nurse With Wound have been up to these last ten years. I need to hear what awaits me within that decade and the gaps that lie beyond. I shall also paint and draw, read, listen to the radio, go for walks around Scholes, see out this sodding lockdown, survive the virus and hopefully emerge like a vaccinated butterfly sometime during the spring months. By then I will have listened to lots of Nurse With Wound. Lots. Masses. Hopefully I’ll have bought quite a bit too. Maybe I’ll sell off some stuff to make room for it. My very own dedicated Nurse With Wound shelf with a vinyl copy of ‘A Sucked Orange’ forever proudly on display.


My Lenka Lente/Nurse With Wound CD’s will also go there though the shelf will have to be a tad smaller to accommodate them. These three inch/five centimeter discs have been virtually my only portal to what Nurse With Wound have been up to recently. The last one that came through the door piquing my interest enough to having me seek out their Tusk set from 2017, which by the way in case you are interested and why shouldn’t you be is quite stunning and well worth your time. If only I was there. Woe is me etc.


‘Alienations [The Devil’s Interval]’ is a fifteen minute slice of a ‘sleep concert’ Nurse With Wound gave in Ireland also during 2017. Sleep concerts being eight hour long overnight shows where Stapleton DJ’s his back catalogue while mixing in live sounds [I’m guessing] as the audience chills out for the night on airbeds and sleeping bags. Somnolence and hypnogogia being the perfect state of mind in which to receive the slowly moving drones of say Soliloquy For Lilith. Whether Stapleton played ‘Chance Meeting …’ in its entirety at four a.m. isn’t recorded. You can achieve the same state of mind at home by smoking a big bifter and playing Soliloquy For Lilith on repeat while rubbing the rim of a glass bowl with a wet finger. Just don’t try it with ‘A Sucked Orange’ ... unless you’re an insomniac. The results will be very different. Fifteen minutes culled from eight hours of DJ’ing will have to suffice for now then and beautiful it is too with the merest hint of Aurelie Lierman’s vocals helping to lull you safely in to the droning arms of morpheus.


As for Octave Mirbeau, I vaguely remember buying a copy of his ‘The Torture Garden’ when I was going through a very expensive and steep transgressive reading curve. If I had all the money returned to me that I spent on books of a transgressive nature I’d have enough to buy a good chunk of the Nurse With Wound back catalogue on original vinyl, in mint condition. Needless to say I was wholly unprepared and underwhelmed by Mirbeau’s satire on the brutality of humankind wanting and expecting something of a far more base nature for my money. I left Mirbeau and much of transgressive literature behind around the same time. Maybe I should go back now that I am older and wiser? Now that I have more time on my hands. Now that I’m reacquainting myself with Nurse With Wound. The perfect partners perhaps? I could translate all of ‘Un Homme Sensible’ while listening to ‘Automating Volume Three’. I’m sure that it would be time well spent.





Lenka Lente


















Sunday, February 07, 2021

Josh Peterson - Collected Voice, Text and Tape Work

 



Josh Peterson - Collected Voice, Text and Tape Work

adhuman adh001 CD



If Amphetamine Sulphate did audiobooks then I’m sure that they would sound like Josh Peterson’s audio works. Steering a path somewhere between the uneasy vibe of early Whitehouse releases, Basinski like decay and with heavy doses of manipulated Power Electronic vocals for delivery, his lo-fi, grainy, Dictaphone sound worlds are peopled with those who have fallen between the cracks of society; the lost souls, the victims of sexual abuse, the dispossessed, the lonely, the mentally ill, those that flit between casual sexual relationships of either sex, itinerant workers, drug addicts, those tied to menial work and reliant on benefits, the nameless, the sad, the hopeless. Here we have someone capturing the quotidian despair of those on the margins of life and all set against a backdrop of utter grimness.


Josh Peterson began life as a sound artist using spoken word and sound collage in his compositions. He’d make up cassette tapes of his work which he passed around friends. Four of these tapes, all recorded between 2018 - 2020 are what make up this double CD release from Duncan Harrison’s new label adhuman. Several of his books have also been published by Amphetamine Sulphate and though I’ve not read any of them I’m guessing they’re of the stripe that has you showering afterwards.

 

Peterson’s deliberate, mostly slurred narration is a largactil induced drawl, a suitably drugged blur that is at one with his subject matter. The constant background of lo-fi hum, emptiness and general decomposition is littered with TV news reports, cheesy lounge jazz, static, shop counter talk, seriously out of tune acoustic guitars, footsteps, machinery, rain, cassette tape abuse, children playing, church bells ...

 

On ‘(report & recital)’ theres the track ‘Questionnaire’ that begins with a Whitehouse like high pitched feedback whistle and this:


Are you often tired and listless for no reason?

Would you describe yourself as moody? 

Would you take unfamiliar drugs …?

Do you think insurance schemes are a waste of time?

Did you tend to dislike your parents?

Do you sometimes tease animals?


He was also seen walking back and forth at the side of a highway near the motel ….’


Peterson’s voice then disappears in to an unintelligible sea of distortion and is eventually replaced by a sombre piano melody. 


‘Dry, Itching Sensation’ sounds like it was recorded in a roofless factory where the rain comes down and a warbling operatic falsetto emerges from a shellac disc. Its one of the few tracks where Peterson’s voice is left untouched and where he even whispers and for this reason sounds even stranger and more sinister. Its like being whispered to by someone about to slit your throat. 


Whether his characters are real or imagined I know not. I suspect Peterson may be taking inspiration from real life, newspaper reports of missing persons, pharmaceutical information sheets especially in relation to side effects, canteens at break times, clock out machines at clocking out time. I know nothing about Peterson except that he’s American and that he’s trawling some heavy duty seas. His is a world that some would like to pretend doesn’t exist but is very real. Thats what makes these works so disturbing. Real or imagined they’re some of the most unsettling I’ve ever come across.




https://adhuman.co.uk/


 



 





 




 






  

Sunday, January 24, 2021

Research Laboratories bring you The Rebel and Sexton Ming

 










The Rebel - I am sorry about my hair beneath the planet of the apes Golidlocks + the bare porridges smoke trak cigarets G 4 F-ort Bring out yer Dead

Research Laboratories. Cassette. 25 copies

Comes in plastic bag with A4 insert


Sexton Ming - Fuck Your Freedom

Research Laboratories. Cassette. 30 Copies.

Comes in plastic bag with artwork pasted to cardboard.





I’ve often wondered if Ben Wallers is the only person to ever write songs that reference the cricketers Alec Stewart, Jimmy Anderson and Brian Lara and also call for the death of all humanity? Wallers songs about the extermination of human existence was a common thread that ran through a lot of what he wrote while fronting the Country Teasers but is he really in to cricket? Well that is something because I’ve just spent the last six hours listening to Joe Root take on the Sri Lankan spin attack only to get run out in the last over of the day with a superb piece of fielding by leg slip. This after a shaky start where the openers Sibley and Creepy Crawley blew it once again in their battle against left arm spin. And theres me wondering how I’m going to start this review of The Rebel’s “I am sorry about my hair beneath the planet of the apes Golidlocks + the bare porridges smoke trak cigarets G 4 F-ort Bring out yer Dead’ when it was staring me in the face all along; Ben Waller, The Rebel, Country Teasers, cricket, race, sex, misanthropy, misogyny, death, hate, fear, nationalism, blind patriotism and all of it gathered up in humour darker than a miners pocket and delivered via a sound thats been to Nashville via Edinburgh and certain London suburbs while taking in The Fall [an often quoted comparison but one thats never sat easily with me], the Carter Family and the sodding Smiths. In essence all of the above, the fact that Waller’s uses a crippled swastika as a logo and that he calls his music publishing company IWASFUCKINGYOURDAUGHTERSOLONGANDSOHARDIFORGOTTOSORTOUTANYPUBLISHING is just my way of saying that Ben Wallers is and will in all likelihood, remain not just a great songwriter but also a total enigma to me. 


Its one of the reasons I’ll happily run in to my burning home to recover all the Country Teasers albums and more than likely several The Rebel releases too. It would be worth suffering a few flesh burns and some smoke inhalation lung damage to rescue what I consider to be a small run of essential albums and singles all made by a person whose never yet got the rewards he’s deserved. 


I’ve watched numerous interviews with Waller and marvelled at his almost shy demeanour and erudite conversation, his camo gear twin set, stetson hat, shirt and tie attire and his wire framed Deirdre Barlow spectacles. His obvious intelligence, softly spoken voice and contemplative ways seeming at odds with the subject matter of his writing. As ‘The Rebel’ I’ve watched video of his one man gigs as performed in a Mexican restaurant in Australia where he’s shared the stage with a babies high seat chair and sang songs of misery to an audience of bemused diners most of whom are wandering back and forth from the bar in obvious disinterest. Watching him deliver the blistering Point of View at the Windmill in Brixton is nothing short of shocking and exhilarating all at the same time; stooped over his guitar, shirtsleeves rolled to elbow and with what looks like deep scratches on his arm, a beatbox pumps out the beat while he picks a few chords on his electric guitar and in his flat delivery gives us this: 



Zyklon-B was a terrible gas

'Cause it killed off all those jews

That's why it made such a good gas

From Hitler's point of view

Points of view


I like Obey by the Brainbombs

And lots of you do too

But Sarah Payne's poor mum and dad

Can't share that point of view

Points of view


The bombs in your bag, it kills fifteen

But it also kills you

You must have been very serious

About your point of view

Points of view


'Kill all the Pakis!' rings out again

In the pubs and football stands

That's a point of view which can be very

Hard to understand

But humans have hot red blood

They like it on their hands

Men kill men kill men kill men

Till not one human stands


Fries are free

Toast is free

Kisses are free too

Your granddad killed a lot of niggers

To buy those free things for you

Now a bunch of Pakis wants to

Take them away from you

What color face deserves what

Depends upon your point of view


Personally, I think, and this is

Just my point of view

All human life must be destroyed


Here I have to admit that after the Country Teasers eventual and predictable implosion I let Waller and The Rebel drift in my attentions. Such was my Waller like lassitude I even failed to turn up for a gig of his at the Wharf Chambers. What a damned fool I was. LP’s I bought none, the occasional single yes. Wallers releases a lot of material and somewhere down the line it was one release too many and I took a turn in the road and never went back. Until now.


Thanks to Research Laboratories I’ve been cursing my reticence and have spent a week catching up and with increasing incredulity wondering to myself why it is Wallers still languishes in cult status territory when his songwriting is of such import. I sure as hell hope he doesn't go to his grave without wider recognition.


Wallers solo work as The Rebel bears distinctive marks; the lugubrious sing/talk delivery, a trebly electric guitar plucked with spidery fingers, beats delivered from a programmed beat machine, a small keyboard capable of producing catchy riffs all of this fed into a four track mixer to which he adds samples taken direct from tv, the BBC World Service, tuneless whistling, Star Trek dialogue, his own dialogue, typewriter clatter, washing machines. The results benefiting from being suitably lo-fi and distorted so as to make the finished whole sound like its been dubbed and re-dubbed on to a forty year old Boots C120.


On ‘I’m sorry …’  there are thirty tracks [including a hidden extra track] and covers of songs by Chaz and Dave, Rod Stewart, Paul Young, Timbuk 3 and Spaceman 3, there are songs of quotidian existence containing gonzo keyboards [In a Polski Slep 4/4] and how Cafe Oto could be improved by being converted in to a McDonalds [McDonalds Dalston Jnctn], there are instrumentals where the keyboard goes all swirly Robert Wyatt, there songs plucked from seriously out of tune acoustic guitars, there are songs where Wallers bangs the keyboard with his fist or at least thats what it sounds like, found sounds are included that are the result of leaving the tape recorder running while making a cup of tea with the radio on in the background. What there isn’t is much in the way of what you might call verse chorus verse structure [unless you count the cover versions] but there is plenty of experimentation, extemporization I dare say and ideas a plenty. I imagine Wallers mind being a seething, boiling sea of ideas and most of his waking moments filled with the realizing them. 


Track titles include:


DAY 1 AT THE SUBMARINE RACES

DAY 2 AT THE SUBMARINE RACES

DAY 4 AT THE SUBMARINE RACES

LECKING BLACK COCKS & SUSTAINED BASS NOTES [a natural history program tv sample about black cocks which is then mixed in to a sample of how Prince used sustained bass notes] 

CLOWNS DON’T LIKE 2B LARFTAT

IM SORRY ABOUT MY HAIR

MIDNIGHT LAY HAT RUN

FLIDAY POLEM


What happened to ‘Day 3 at The Submarine Races’ is not recorded. And there at its almost end is Wallers singing ‘bring out yer dead’. Perfect.


Thirty one tracks of keyboard blurts, found voices, noises, part songs and a Chas and Dave cover might lead some to wonder as to whether this is Wallers at the Finnegan’s Wake stage of his career or whether this is just a continuation of what he’s been up to for the last twenty odd years. What the hell do I know?   


Meanwhile, somewhere down on the south coast Sexton Ming has abandoned his porridge van and picked up his cudgels in the fight against police brutality. How we got here is anybodies guess, my exposure to Sexton Ming being a limited one from when he had his porridge van and released stuff that sounded like him doing the washing up as he sang opera. A strange one for sure. An outsider artist of a certain stripe and so far off the no audience radar as to be living in a suburb of Yemen.


Mings eclectic, some might say scattergun approach towards sound collage and erm ... song construction has taken a serious turn to the left with the inclusion of ‘The Beating of Kelly Thomas Mix’. Thomas, an unarmed, schizophrenic homeless man was beaten by six police officers for resisting arrest and died of his injuries five days letter. Sound familiar? This was California nine years ago. Its a harrowing listen with Ming adding lo-fi buzzing to the police audio of the event, an attack that saw zero persons get any jail time. 


Elsewhere Ming swings his piano from jazzy cocktail, to silent movie to vaudeville, all samples of course, then there’s proto PE noise, pub chatter and more bizarrely vocals in which his voiced is sped up to resemble Smash aliens. On ‘Forced to Eat His Flesh’ he goes the full Andrew Liles and chucks in tortured souls, clashing cymbals and the wails of the damned. There are tv samples, bird sounds, funereal dirges delivered in a Nick Cave style manner and some neo folk industrial ambience. Someone shouts ‘shut up you old bag’, an acoustic guitar riff … endless it is and not to everyones cup of tea but perfectly fitting into the Research Laboratories ethic of providing us with music from the outer reaches of wherever this is.  



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