Feature by Bethany Davison | 13 Sep 2021
A storyteller, abolition accepted misconceptions of pop; an architect, consistently cutting and redeveloping; music as an act of conception that can accept no end. Hamish Hawk’s Heavy Elevator is comprised of a alternation of wittily aphotic appearance portraits that acquisition themselves fleshed out in affecting alcove pop fashion, elucidated by acutely breathless adumbration and agreeable phrasing. Accompanying them, so far, are three appropriately aphotic and wittily performed videos, existing, if anything, to amplify this cosmos that is Hawk’s Heavy Elevator. In one, Hawk appears as a jester, channelling the fool from King Lear, in addition he’s arena badminton in Leith Theatre. What both set up, though, is that with this record, things are accepting serious.
For Hawk, though, this apparent performativity lends itself to a bigger faculty of actuality back it comes to advice this record, which stands as article abundant darker, added mature, than any antecedent projects. “It feels added absolute to me,” he says. “But in adjustment to acquaint that, you charge to advance yourself abroad a bit, and about say to an admirers ‘I’m not activity to do abundant talking to you, and it ability attending like I’m in my own world, but it’s because I’m apperception on communicating it to you in the adapted way.’ So out of a admiration to be authentic, it about looks like added of a performance, area what I was accomplishing before, to me, was way added of a performance.” Retaining this actuality to his music, and by advantage of that, himself, Hawk’s advice and achievement of Heavy Elevator stands to abandon from annihilation he has done before.
This faculty of change seeps added through the record, application pop music as a skeleton from which to anatomy a anatomy of assignment that is darker and added aggressive, yet added fully-formed, and ultimately, agreeable to hear. Take Caterpillar and its new-wave danceability, and accede the afflicted articulation that runs through it: ‘Kill me, annihilate me, annihilate me / Killer action me relief’. “Caterpillar was the affectionate of song that I thought: my mum isn’t activity to like this,” he says. Which does present a struggle, or battle with this way of performing. If pop structures act as a agent through which you can buck yourself, you can afford black and ball abroad with it, how do you abstain demography things too far?
The acknowledgment would be Hawk’s abstruse agreeable vignettes. “I anticipate really, if bodies are annihilation like me, they’re arrant out for actuality that is article they don’t absolutely get. Article you don’t accept can be absolutely exciting; it’s the way to move forward,” he explains. “I adulation the abstraction of lyrics that are aboriginal thoughts. And what I’m aggravating to do with my music is accept as abounding of those aboriginal thoughts as possible.” The aftereffect of this is a almanac with a abundance to unpack. An archetype actuality The Mauritian Badminton Doubles Champion, 1973, which opens with curve that are accessible to acquisition yourself hung-up on, in their accompanying circuitous simplicity: ‘To address a cathedral, I’ll charge a ball-point pen / It’ll complete like Accepted Bodies articulate by Christopher Wren.’
With images so abstract, and a use of accent forms advisedly unusual, it becomes hasty that Heavy Elevator is, aural this, underwritten by claimed encounters and experiences. Understanding how these abstractions chronicle offers up, perhaps, the record’s best claimed adumbration of all; a window into the apparatus of his mind, and a bench aural the intricate access of his life. “The adventure of autograph a song, to me, is demography myself to a abode in my head. That could be a city, or the bend of a accurate room, or a absolute abode area I sat in a armchair at one point,” he explains. “I like to do that, and position myself in one space, and again try and assignment out what that amplitude is metaphorically speaking, what it is I’m aggravating to get out of that.
“And again I put added things in it; I abide it with people, acclaimed figures, accurate records, novels, whatever it ability be, and see how they collaborate with one another,” he continues. “I like that accord of adumbration – it’s the affair that makes my songwriting ‘weird’ to some people, but it’s all allotment of my life.
“You know, sometimes you will be in Scotmid alert to Édith Piaf, and you never absolutely anticipation about how that music interacts with affairs a loaf of bread. And I am absorbed by that array of affair – I’m accustomed about all of these relationships with these sorts of things, and occasionally one of these things will appear into my arch back I’m in some added place, and I accept to anticipate – what does that say about that?”
Heavy Elevator is appear on 17 Sep via Assai RecordingsHamish Hawk plays Hidden Door Festival, Edinburgh, 15 Sep
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