Gavin Hardkiss has a long history of holding dance music’s feet to the fire, making sure it continues to take risks and seek influences outside of itself. The South African native, firmly planted in the San Francisco scene since the beginning of the 90′s, is responsible for classic Hardkiss statements such as the Delusions Of Grandeur album and 3 Nudes In A Purple Garden. Gavin’s Hawke pseudonym has continuously evolved since those days, embracing wide changes in style and technique. Now his recent relationship with Eighth Dimension Records continues with his album +++. In most hands this ambitious selection would be a perplexing affair, as the album segues from cosmic house tracks to ethereal guitar-chiming ballads to sing-along electronic pop tracks without warning. But Gavin’s mastery at bridging genres makes this all seem effortless and makes for a series of songs that exhibit a depth not often seen in dance music.
Long time Hardkiss friend Q-Burns Abstract Message interviewed Gavin Hardkiss, asking him about his eclectic style and how the sound of Hawke continues to be shaped by Acid House culture. At the bottom of the interview is an exclusive DJ mix from Gavin Hardkiss himself, showing the contemporary styles and artists making up his current dancefloor playlist.
QBAM: The +++ album finds inspiration in the musical moods and styles found in the electronic/indie hybrids of music from the late 80′s/early 90′s, primarily coming out of England. Everything seems so different now, not just in style but in how music is bought, shared, and listened to. What are the things tying together the music of then with the music of now?
In the early and mid ’80s I was living in the British colony of South Africa. Well it wasn’t a colony but it had been and culturally it was very influenced by Britain. Cadbury Chocolate, Rupert The Bear, F.A. soccer and New Romantic music. I grew up with a fascination for British music and preferred it to American sounds. So when Acid House culture and the Rave scene hit, I was all over it, even though I was in college in the States at the time. The guitar driven dance music of The Happy Mondays and The Stone Roses seemed so fresh to me. Keeping with my romantic roots but adding a carefree masculine stagger and a psychedelic funky edge. There was a silliness to it all that attracted me too.
You don’t see much of that anymore. It’s all a bit too serious. Even when the people aren’t, the music often is.
But, culture moves in cycles and that era did leave a watermark on the sounds of some of my current favorites like MGMT and certainly can be heard on my new album +++.
QBAM: Continuing with the above train of thought, what are some things that are missing now that you’d like to see return?
I’d like to see more maracas and bongos. I thing there’s a summer of love just around every corner. There’s so much good music coming from all the corners of the globe. So many talented producers and musicians in every genre. It’s all happening at the same time.
QBAM: As you pretty much started making music in the early 90′s and the +++ album draws upon that time, do you feel your creative process and intentions were similar in the recording of this album to those of when you got your start?
I started making music in 1991 when I was 22. I had never touched an instrument in my life until I bought an EMAX sampler. With this album I’m definitely trying to make the album I would have made back then had I had the skills and confidence. Singing takes some balls. The technology is way better now for making a shitty voice sound good.
QBAM: You tend to do a lot of collaborating on your albums, both in songwriting and your use of musicians. How do you find a collaborator and what do you look for?
I like working with people who have different skills but similar sensibilities to me. I’m looking for guitarists and other instrumentalists who can play an instrument with sweet intention, cause I can’t. I have very little interest in collaborating with other producers.
QBAM: Your DJ sets are known to be quite eclectic, though still pleasing to the dancefloor. What shaped your need to take risks as a DJ rather than just concentrating on sure-fire floor-fillers? Have you any tales of resistance you’ve received because of this?
I like to make people dance to songs they’ve never heard before. I’m not a peak time commercial club DJ, but I’m a pro at setting it up for the heavy hitter to do some damage. I like breaking it down rather than building it up. I have no time for drama or ‘save the princess from the dragon’ anthems. As I’m sure you remember, you (Q-Burns Abstract Message) and I were thrown off the decks at the Hard Rock Hotel in Tampa a few years back ’cause it wasn’t banging. I don’t bang. I caress.
QBAM: Tell us a little bit about this DJ mix.
It’s a good little taste of what I like to play right now. Swishing between some balearic disco influences and minimal funky sounds.
QBAM Anything else?
I’m in the clouds … never coming down.
You can listen to the Hawke album +++, out now on Eighth Dimension Records, at this link: http://soundcloud.com/eighth-dimension/sets/hawke-eighth-dimension-records-8th026d
Hawke (Gavin Hardkiss) – Cosmic Disco Exclusive Mix
- How Why – #9
- Kaoru Inoue – The Secret Field (Todd Terje Remix)
- Sleazy McQueen -ft. Anne Montoro – Anna Due (Cole Mix)
- Simply Yes (Magic Tagik Remix)
- Candy Dealers – Street Delight
- Greg Campbell ft. Ms Audry – Deep Inside (JPhlips Dirtybird Remix)
- Ozy – One Way Jesus (Afterhours Mix)
- Eriella Mangelt – Sugar Nights (Original)
- Franz Ferdinand – Ulysses (Beyond The Wizard of the Sleeve Mix)
- Lumo – Tessio
- Leo Tignino – Into The World
- Rodriguez Jr. – Lila
- Klimouts – Down to Earth (MyMy Monterrey Wash Remix 1)
- Marbert Rocel – Beats Like Birds
