By the age of eight Hawk had discovered the magic of recording, the thrill of making music, and the joy of dismantling equipment in order to rebuild it. Nurtured by a diverse range of artists in San Francisco Bay in the seventies and a community that encouraged challenging and changing paradigms, it was only natural that he was performing with and recording other musicians long before he was old enough to drive.
During the next decade recording began to flee the expanse of analog for the compression of digital. The new technology was easier, cheaper, more accessible. Rave culture arrived on the heels of computerization, and the music business was booming. Some artists felt prized for the attention that began to flood in from the entertainment industry. Others felt preyed upon by the agents in their midst, as the the power mix of flashing lights, chemically engineered drugs, and repetitive electronic pulses had begun to dawn on them with a slow horror. Perfect Programming.
It was in this context that Hawk opened his first recording studio with others who were determined to breathe some life (and critical thinking) back into their community. There were beautiful days during their quixotic run, but the wave rolling in from Silicon Valley proved to be unimaginably strong.
The toxic effects of “progress” were becoming rapidly more apparent not only in the music culture, but in every possible direction. By the turn of the millennium Hawk had moved to the forests of Puget Sound as the last of the city he loved seemed to disappear.
There he continued to cultivate a different kind of recording that had shifted from studio and stage to homes and the streets, seeking out spaces that would bring gatherings and music back to earth, and learned more about how to transmit the sounds that could only happen at that place, at that time. After a few years he took to the road, honing environmental recordings with Spiral of Life Studios, and performing everywhere from city streets to bonfires, from the west coast to the rockies.
A few years after landing – of all places – in Salt Lake City, he again returned to more traditional recording at a music venue. During that time Night Gallery was born, with the intention of highlighting the voices of those working to combat a growing refusal to face the destructive forces at work in our culture that are waging war upon the earth. He is currently working to contribute to the more vitalized meaning, myth, and music that is emerging even as the old structures crumble.