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Death Hawks, Death & Decay & Death Hawks: Dawning Suns

Posted in Reviews on October 16th, 2019 by JJ Koczan

death-hawks-death-and-decay

Two limited reissues bring out the beginnings of Finnish experimentalists Death Hawks and provide fresh context to the work the Tampere-based band has done since signing to Svart Records for 2015’s Sun Future Moon (review here). The band’s first two albums, Death and Decay and Death Hawks, were originally released in 2012 and 2013 through GAEA Records and have been out of print since, sought after by late-comers like yours truly who didn’t catch them the first time around. With 500 copies of pressed of each, Svart does the universe a solid in this instance and puts Death & Decay on a gold LP and Death Hawks in black and white — suited to their respective artwork — and allows for curious parties to discover more about the band’s roots. As it turns out, there’s plenty to learn.

For example, that the stylistic experimentation of 2019’s Psychic Harmony (review here) were by no means a new impulse, and indeed, central to the ethic of the band. You might say it’s the root of Death & Decay, though it’s manifested not in synth-driven progressive disco, but a psychedelic take on country blues, putting the guitar and vocals of Teemu Markkula front and center like an otherworldly John Lee Hooker on a cut like “Death Hawk on My Trail” or the rockabilly-style “Roamin’ Baby Blues,” taking its structure from the Robert Johnson school of proto-blues and adding a speedy snare for that riding-the-rails vibe — filtered, of course, through Finnish psychedelia. With 11 tracks unfolding from the mellow ramblin’-“Planet Caravan”-style understatement of opener “Blue Void” to the later Tom Waits-of-Alpha-Centauri severity of “Priest’s March,” amid fuzzier tones and subtle backing synth also provided by Markkula, Death & Decay is a formative tour de force.

“The Beast” touches on organ-laced ’70s folk while “Holy Water,” which immediately follows, starts with a wild bark and turns itself into a tent revival of psychedelic wash, while over on side B, “Death Has No Reprieve” weaves hypnotic background vocals into its deceptive depths, and the catchy “Dead Man” (probably a reference to the 1995 Jim Jarmusch film of the same name), foreshadows some of the melodic sweetness Markkula will bring to his vocal style on subsequent outings, letting closer “The Peace Maker” touch on Morricone — among other things — as a direct foreshadow for some of what the self-titled would do the next year. Ultimately, Death & Decay is broader in its sound than just tagging it “psych-blues” could hope to convey, but especially with Markkula‘s performance so much at the root of the material on guitar/vocals/keys/producer/composer/etc., the feeling throughout is less full-band-expanse and more solo-exploration, and that gives the 44-minute 11-tracker even more of a “starting out” vibe, as though the material were experiments that came together as songs as they were fleshed out. As sure as the band has been of what they’ve done since, it’s kind of refreshing to know this sense of adventure was what sparked their origin in the first place. Their will to push beyond and between stylistic confines is readily on display, and the songs are memorable and weird in kind, recognizable in themselves and in the nascent sprawl the band would go on to develop from the foundation they set.

death hawks death hawks

This, of course, was realized in the quick turnaround of Death Hawks, and though it’s a shameful cliché, I’ll note that it does not seem at all a coincidence that the second album is self-titled in terms of their laying claim to who they are as a group and their intentions going forward. Shorter at 35 minutes/seven tracks with a recurring theme in “Cain Go Home (2. Session)” on side A and “Cain Go Home (1. Session)” on side B — the Morricone influence returning in the whistle of both — the self-titled is immediately immersive in its psychedelic reach, with whispers and backing melodies and winding hypnotic guitar on six-minute opener “Night Children,” the title doing little in the end to convey the colorfulness of the tone there or in songs like “Blind Daughter of Death” and the string-and-organ-backed mellow meander of “Quiet Sun,” a not-all-who-wander-are-lost krautrock texture pervading the spirit of what sounds rooted in a live recording.

That, in turn, is answered by the flamenco strum of the “Cain Go Home (1. Session),” which is nothing if not based around conveying a feeling of motion, so a dynamic emerges across the self-titled that is broad while remaining unified not just by Markkula‘s continued melodicism, but through more of a full-band feel around him, with the centerpiece “Grim-Eyed Goat” and sax-inclusive nine-minute closer “Black Acid” ranging into the beyond of subdued-and-not space rock while holding firm to Death Hawks‘ identity as they establish it throughout. Like its predecessor, Death Hawks is very much about its mood and vibe, but it’s an essential step in coming off of the debut and does much to convey what became the overarching intent of the band at the time. True, that intent would shift by the time Sun Future Moon came around and continue to do so for Psychic Harmony earlier this year, but if anything, the first two Death Hawks LPs highlight the purposefulness behind that.

Because it’s not just about how there’s a leap in sound from one record to the next one — which it’s worth reiterating: the sophomore album followed just a year after the first — but about the creative ethic that’s behind making that leap in the first place. Death Hawks‘ open sensibility and forward drive is something that continues to push their material in exciting directions and down paths that others probably wouldn’t dare to tread even if they thought to do so. What Death & Decay and Death Hawks make plain is that this is a founding principle under which Death Hawks have operated for as long as they’ve been a band, and really since before they were a band as they are now. Perhaps more than anything else, these Svart represses make Death Hawks seem like an even less predictable group, with their origins in unexpected climes and an even broader palette than that for which I’d previously given them credit. I wasn’t about to predict what they’d do next anyhow, but I find myself less inclined than ever to speculate.

Death Hawks, “Dead Man” official video

Death Hawks, “Black Acid” official video

Death Hawks website

Death Hawks on Thee Facebooks

Svart Records

Svart Records on Thee Facebooks

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Death Hawks: First Two Albums to See Reissue Oct. 4

Posted in Whathaveyou on September 23rd, 2019 by JJ Koczan

death hawks (Photo by Sami Sanpikkila)

I want these. Among the great many unmade Roadburn purchases I regret from over the years, not shelling out for every-frickin’-thing Finland’s Death Hawks were selling when they played there in 2015 has to be somewhere near the top of the list. Hang my head in shame. Svart Records — as it will — offers solace in the form of two LP reissues of the band’s 2012 debut, Death and Decay, and its 2013 self-titled follow-up. The numbers are limited, and while Death Hawks did already release the brilliant synth-o-prog of Psychic Harmony (review here) earlier this year and I still need to pick up that CD, these records have both been on my Amazon wishlist for I guess the last four years, so they’re pretty much necessary grabs as well.

Wonder what my chances are of getting digital versions to review. I’d love to write about anything Death Hawks that cites Wovenhand as an influence, and if the second record was where they went psych, that’s where I want to be.

Here’s the info and preorder links:

SVART RECORDS TO RE-RELEASE EARLY WORK FROM DEATH HAWKS

Death & Decay, the debut album from Death Hawks, will be released as a limited edition golden vinyl on October 4, 2019. The album is a unique mix of Finno-Americana tunes that draws influences from Wovenhand for example and where the voice of singer-songwriter Teemu Markkula carries through this multidimensional journey.

The album is the first knot on the bands own unique string of albums, where every album stand boldly on their own almost as if they were done by a different band every time.

https://svartrecords.com/product/death-hawks-death-decay-lp/

Tracklisting:
Blue Void
How Dark Was The Land
Roamin’ Baby Blues
The Beast
Death Hawk On My Trail
Shining
Holy Water
Death Has No Reprieve
Priests March
Dead Man
The Peace Maker

At the same time Svart Records will also re-release the band’s self-titled sophomore album that opened doors also internationally for Death Hawks. This psychedelic gem brought the band a license deal to Germany and several tours across Europe. This unnamed album packed in mystical dark covers is still the one album from Death Hawks discography that many love the most. The album is available in black & white vinyl reissue limited in 500 pieces.

https://svartrecords.com/product/death-hawks-s-t-lp/

Tracklisting:
1. Night Children
2. Cain Go Home (2. Session)
3. Blind Daughter of Death
4. Grim-eyed Goat
5. Quiet Sun
6. Cain Go Home (1. Session)
7. Black Acid

Death Hawks – Psychic Harmony tour Finland 2019
04.10. Hämeenlinna, Suistoklubi
11.10. Helsinki, G Livelab
12.10. Helsinki, G Livelab
18.10. Tampere, Olympia-kortteli + VIRTA
25.10. Oulu, 45 Special + VIRTA
26.10. Jyväskylä, Tanssisali Lutakko + VIRTA + Kantatie
1.11. Turku, Dynamo

http://www.deathhawks.com/
https://www.facebook.com/deathhawks/
http://svartrecords.com/shoppe/en/
https://www.facebook.com/svartrecords

Death Hawks, Psychic Harmony (2019)

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