Page 28 - Zone Magazine - Issue 033 - Jan Johnston

The world cup in South Africa - your track 'Mundo Via Afrika' was chosen, can you tell us all
about this time & process?
I grew up in South Africa where I played soccer at a high level. I'm a huge fan too. Sony Africa asked if I wanted to make a song for their official World Cup album exclusively featuring African artists and I jumped at the opportunity. Growing up in Johannesburg, I had a turntable in my bedroom and I'd raid my father's vinyl collection. I loved his comedy records. That silliness stuck with me and anytime I get a chance I like to make a silly record. Mundo Via Africa is pretty silly. I appreciate music that doesn't take itself so seriously. There's a good amount of that in the Hardkiss catalog. There's a time and place for all kinds of moods. The dance music scene tends to take itself seriously. THE DARK ART OF LIGHT WORK is a heavier tone. MUNDO VIA AFRICA is fun. Have you seen the
video? https://www.youtube.com/watch?v=s0LpO7TA4Sg
What was your main music influence growing up in South Africa?
Black music, comedy records and new wave.
How did you meet Scott and Robbie?
Scott and I went to college in Philadelphia. Robbie and Scott went to high school together near DC. I dated Robbie's sister. I think Scott dated my sister. When Scott and I graduated from college, we drove across country to San Francisco to connect with Robbie who had moved there a few years earlier to start Hardkiss Music.
Tell us more about the names Hardkiss & Hawke?
Scott and I were tossing around names and I threw out Hard and he threw out Kiss and then he put them together. We started the Hardkiss Music label and then he began DJing as Scott Hardkiss and a couple of years later Robbie and I did the same.
My name Gavin means White Hawk in Gaelic but I couldn't really call myself White Hawke. That would have been career suicide. So I went with Hawke. I was producing before I Djed. Actually, one of the first tracks I ever made was just re-released on vinyl here: https:// klassewrecks.bandcamp.com/album/elegal1-ep
Was it the acid house sound that got you into the electronic music scene
and DJ'ing?
For sure, I was making mixed tapes of Chicago acid for house parties back in Philly. Then got on board the groovy train with all the indie music coming out of Manchester. So there was this strong connection to Chicago and the UK which was quickly followed by Detroit techno. I'd say Detroit techno of that era is some of my favorite music ever. There is some great mimicry these days and I keep a digital crate of the Detroit sound handy at all times. There's a sound where Detroit techno meets Africa and I dig that. In the early '90s, one weekend when I was DJing in Chicago, I was invited to the Trax warehouse. I was given free run of the warehouse to take copies of anything I wanted. I didn't hold back. Pretty much grabbed the entire collection and have that vinyl collection in a crate on standby at all times.
How vital was it to get to know the
record stores and record labels on
the east coast for you?
While living in Philly, we used to buy records from King Britt at Tower and developed a lifelong friendship with Frankie Bones at Groove Records in Brooklyn. Couldn't have hoped for any better influence. Two tall standing dudes who created entire cultures around them.
In 1991-92 how vital was it to book
studio time and did it help when
starting the label?
Correct, we would use our sway or remix fee or DJ money to rent time in studios. It was quite frustrating because there weren't many dance music engineers at the time which forced me to buy the gear and learn for myself.
" San Francisco was on another level back then pre-Internet. We lit the fire for the tech revolution. The culture and music was diverse and futuristic and the techies fed into that "
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