Mirabile Dictu: Hawkwind Rises From The Ashes and Delivers The Goods

Hawkwind- The Machine Stops (2016) Cherry Red

I will admit it, I had Hawkwind written off. For most long term fans of Hawkwind, the band has been on life support for over 15 years. It’s not as if there wasn’t plenty of evidence. Folks started to wonder what was up as drum machines and sequencers took control of the band. Albums began to have a push button feel to them, and fans had started to abandon ship around the time Alan Davey left circa 1997’s Distant Horizons. This album had ushered in the ‘techno era’ for Hawkwind, and ripping guitars, washes of jet engine level white noise and howling vocals were being replaced by drum machines, polite sequenced synthesizers and a pattern of endless parade of pleasant remakes of their classic tunes, mostly inferior to the originals. Recent clunkers didn’t add to confidence that the ship would stop taking on water.

With that in mind,  any new Hawkwind album needs to be graded on a sliding scale. 2010’s Blood of the Earth suffered from an overt absence of Dave Brock, the sole surviving member, and the heart of the band. His vocals and guitar work were essential cogs that made the Hawkship fly so successfully. His handing over the reins of the band to a revolving door of some less inspired associates made for a frustrating and disappointing experience. The follow up, 2013’s Onward, fell even further down the rungs of the ladder-no memorable tunes at all, and padded out with remakes of their own former classics. Ennui and malaise were now the watchwords, and the outlook for the future looked grim.

All of which makes 2016’s The Machine Stops, their 26th studio album such a welcome surprise. When one enters with zero expectations, even a modest level of success is noteworthy. But make no mistake, this album exceeds any modest expectations. Echoes of their underrated 80’s work-Church of Hawkwind, Levitation and Choose Your Masques-flow through this concept album (loosely based on E. M. Forster’s prescient 1909 short story of the same name-a post apocalyptic underground world controlled by machines). Church of Hawkwind is the best reference point, a 1982 album revered by Hawk-heads and generally unknown in their catalog. It has long been considered one of the last of the ‘classic’ Hawk albums, heavy on the synths and thick with a creepy and trippy dystopian vibe. The Machine Stops follows a similar bent: spoken word pieces as intro and outro, synth instrumentals that segue songs seamlessly, genuine rockers interspersed with more dreamy takes. It would appear that this is the first Hawkwind album in decades without a remake of a former classic, but hard core Hawkfans may notice that the song Tube is lifted from the introduction of Choose Your Masques’ Dream Worker, while others may notice musical and lyrical themes from other past songs weaving their way through.

Keeping in mind that Hawkwind has been mostly a functioning band since 1969, it is beyond startling that 47 years later, they could still pull some magic out of their hats and dazzle us. Long term fans and newcomers will resonate with this record, as it plays into Hawkwind’s strengths. Concept album? Check. Large dystopian theme running through the whole thing? Check. Creepy atmospheric interludes? Check. And a big reason for this album’s success is Brock stepping up once more to grab control of his own band, and inject some of his magical energy that has been lacking in the last 20 years. When people say this is one of their best albums in a while, they are spot on. (One review states it is the best since 1975’s Warrior on the Edge of Time, a bit of misguided hyperbolic praise). But this is definitely the most satisfying and complete work since 1992’s Electric Teepee (or some others have pointed towards 1995’s Alien 4 as their last really satisfying and complete album). Either way, it has been over 20 years since a Hawkwind album that really gets you excited and makes you want to play it again immediately has been released. Hawkwind releases used to be cause for celebration, make you want to take the day off from work or school and just—you know-get into it, get out of it, get into it.  Blood of the Earth I played a few times and haven’t revisited in six years. Onward? I actually sold it after two plays knowing I’d never listen to it again. Hawkwind’s recent output was starting to tarnish the unique power and beauty of their 1969-1992 era of near perfection.

Their recent attempts at sticking their toes into the prog rock pool also didn’t sit right. Prog bands are known for their chops and tricky compositional skills, this was never Hawkwind’s vibe. Hawkwind was always about the SOUND. They always had taken a punk rock approach, long before punk existed. “Plug a bunch of things in, wail away, and let’s see what happens” has always been their approach, and nobody in the history of the band would claim virtuoso status in any era of their existence. This is what made Hawkwind stand out from the crowd, in a field crowded by anorak prog geeks wielding moogs, Hawkwind were the Neanderthals armed with technology who co-opted the fancy gear and created a glorious primal electronic caterwauling, a maelstrom of sound that could pluck your consciousness from your shaking body and take it to new dimensions, something ELP and their ilk could never do. Attempting to enter territory they weren’t well equipped for wasn’t playing to their strengths, and their recent work showed it.  Only 2012’s Hawkwind Light Orchestra’s Stellar Variations avoided this trap, stripped to a trio of Brock, Chadwick and Hone.

Perhaps the transition of Dibs from bass to more of a full time vocalist has something to do with this revitalization. Niall Hone and powerful newcomer Haz Wheaton (this kid brings the Lemmy hunger back into the mix) play bass on 70% of the album. Coincidence or not, there is magic once again bubbling up in the lower frequencies.

Is this album perfect? No. Although it does not fare as well in comparison to their groundbreaking 1970-1977 period, and can suffer from time to time from overly generic synthesizer work, it should quickly grab the attention of any Hawkwind fans who would consider themselves a bit disaffected in the millennium. Overall, this album has an elegiac feel to it. Under the guises of following the storyline, the third to last (and best) song on the album, the infectious Solitary Man sounds as if Dave Brock is finally letting the long term fan peek behind the curtain into his private life for both a quick glimpse and large statement, and has pinned an appropriate title to let you know.  For as the song says,  Dave has always been a Solitary Man, single-handedly guiding the starship Hawkwind through the Cosmos, surrounded by friends, but alone with his thoughts. If this is the last Hawkwind album ever, it is a solid final statement, and they have done us proud. Highly recommended for Hawkwind fans both old and new.


5 thoughts on “Mirabile Dictu: Hawkwind Rises From The Ashes and Delivers The Goods

  1. Certainly won’t be sharing a review that spends half of it slagging off the band and Dave Brock’s choice of musicians AND getting facts wrong about when they started using sequencers drum machines and technology..OR that fans deserted the band because the My Little Lemmy left. Quite frankly this review has had and has got his head firmly stuck up his arse and firmly in the rose tinted biased wank if time

    1. Hello Dick, Thanks for reading. Not sure what the last sentence was intended to mean, but none of the facts here are incorrect. Sequencers and drum machines came on board in ’89 and the early 90’s in terms of syncing with Richard’s drum kit. By 1997, the automation had overwhelmed the overall sound. American fans left in droves around this time, perhaps coincidentally with their final appearances in the States, which were heavy on automation, and light on a real Hawkwind ‘thump’.. In terms of ‘slagging of Dave’s choice of musicians’, the band did become a bit of a circus of changing faces (18 different members since 1997) that hurt the continuity of things. People getting shown the exit points towards a need to find a more successful lineup. This is a realistic assessment of what has gone on, and does not dip into ‘rose colored glasses’ visions of ‘Hawkwind is perfect, they’ve never done a bad record’
      By the way, did you notice that the review says this album is the best thing they’ve done in over 20 years and that everyone should buy it?

  2. So apparently this little review has caused a shitstorm with the Hawknerds. People getting blocked on Hawkwind Friendface sites? For asking why a link to this review was taken down? Fans of this blog sent screen caps of some of the action before it was deleted recently. Some appalling immaturity on display once again.

    Now let’s be clear, this review says this is the best Hawkwind album in the last 20 years, and everyone should buy it. But any hint of criticism and these loons gather up their minions and attack. Look up Mirabile Dictu when you get a chance, (it’s Latin btw). But the Hawknerds gathered, and even Dibbs (who really should know better by now than to spout off on social media-See you next Tuesday Dibbsy?) put in his 2p worth. Then the lemmings followed their orders (it does seem that Dibbs is one of the focal points of the negative Hawknerds fanbase), and attacked, demanding apologies, retractions and bannings. Again, all over a review that says this record is great and should be purchased immediately. What causes such febrile madness? Active attempts to censor opinions that say anything critical only reinforce the idea that said criticisms are actually spot on.

    I know that many of the Hawknerds are straight shooting loyal Hawkwind fans, but there is a small element that border on dementia. These folks are hell bent on promoting a divide in the fanbase, and really ought to be shown the door for doing a disservice to the band, rather than being patted on the head and fed a cookie.

    Hawkwind is about a gathering of the tribes. These people have circled the wagons and gone into fortress mode, and a brooding group psychosis has entered.
    The sad fact in the end, is apparently they, (including even Dibbs) do not even understand what the Hawk message has been for the last 47 years. I feel bad for them.
    With Love in Space, Carwreck

  3. You’re talking about a Facebook fan group. That’s what fans of a band do, they follow and support the band you stupid idiot.

    1. This behavior is far beyond supporting a band. Generally, most real fans are quite realistic, not irrationally sycophantic. Blindly and uncritically believing everything a band says is true and everything they put out is ‘the best thing ever’ isn’t actually constructive support, it’s worthless platitudes from those who have exited from reality, brains torn. Valid criticism of a band keeps the organism self aware and healthy. The tenor of the reaction to this review being posted on the fan group changed instantly from positive agreement to a different hateful tone once Dibbs chimed in on FB-as if approaching Hawkwind with a critical eye is now verboten.(that thread was quickly deleted)
      Which begs the question, can people think for themselves or do they have to be told what to think?

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )


Connecting to %s