HAWKESTREL: THE FUTURE IS US

Hello Hawkwind fans. Alan Davey was the bassist for Hawkwind from 1985 to 1996 and then again from 2000 to 2007. He is the brains behind this band called Hawkestrel, where he provides most of the vocals and instrumentals of the project. Of course, it stands to reason that, since the name of the project is a definite hint to the Hawkwind name, there would be more in common than this to merit a handle that reflect this relationship. Of course there is. Alan has recruited several past musicians that have worked with Hawkwind through the years and scores of line up changes to participate in some of the tracks on this album called "The Future is Us", released in August of 2019. This album, which lasts a little over an hour, has 13 tracks and plenty of opportunities to bring in these special guests. Two major players that show up several times on this album are Ginger Baker (who is famous in his own right, but also played drums on the album "Levitation" (1980)) and Paul Rudolph (who played bass on "Astounding Sounds, Amazing Music" (1976)).

Starting with "Do What You Need to Do" (8:16), Simon House guest stars on violin. House played violin, synthesizer and other keys sporadically for the band, from 1973 ? 1978, 1989 ? 1991, and again as a guest from 2000 ? 2002). House's violin comes in quite early, giving the space rock track that middle-Eastern sound. The track is built upon a heavy guitar and bass riff with moderately fast rhythm and airy space effects. Davey's vocals don't come in until well into the 2nd minute, and the sound is definitely Hawkwind, not a cheap imitation at all. This is the Hawkwind sound we have been craving. Plenty of rocking and plenty of jamming, you would swear this was a track from the 70s. "World for Fear" (4:41) brings in Paul Rudolph on guitar and original member Nik Turner (1969 ? 1976, 1982 ? 1984) on sax. More layers of space rock joy continue here with swirling guitar and sax standing out in the mix. The track is a bit noisier than the first with heavy synths tying it all together. "Sea of Sand" (4:59) retains Paul Rudolph on guitar who doubles with Ginger Baker, who also plays percussion here. This track has a moderate sound, and less noise. Heavy bass and dissonant sax play together in a long introduction, then guest vocalist Bridget Wishart (Hawkwind's only female lead vocalist from 1989 ? 1991) brings in a psychedelic, mysterious sound as the full band sound kicks in along with a faster tempo. The track has a ore experimental feel to it which is really quite appealing. Tempo's change in various places, and a riff from a violin comes in on the last part of the track that turns the music into a swirling dance.

"Nyx of Khaos" (3:45) brings back Ginger Baker on drums and Nik Turner on sax. The beat is quite heavy and the sax has plenty to say here too. Guest Mick Slattery (one of the original guitarists from 1969) also helps out on guitar. A nice synth loop creates a tonal percussion effect. It's a great instrumental with a progressive feel and tricky drum patterns. Baker also plays drums on the title track "The Future is Us" (4:38) and Rudolph once again helps out on guitar. Turner's sax is also back for this one. Davey's vocals are up front on this psychedelic track, which starts off in a hesitant way, but a moderate rhythm is finally established as it moves on and the sax continues doing a sort of call and answer with the vocals. It's a nice, mostly atmospheric and pensive track, but don't be surprised when things explode into action a few times.

"Sonic Attack" is an old spoken word track from Hawkwind, but this time the vocals are done by none other than William Shatner. It actually sounds natural to have him there, like you almost expected it. His voice is heavily echoed and effects are added to help dramatize everything, and of course, you get some contrasting vocals and plenty of space effects. The track is strangely cool, but weird and campy. "12 String Shuffle" (3:47) brings in Hawkwinds founder Huw Lloyd-Langton (1969 ? 1971, 1979 ? 1988 and as a guest from 2002 ? 2005, died in 2012) on acoustic guitar and harp, recorded from sessions from years before. Sound effects surround his performance and harmonica and drums by Baker are also added in. The track has a really nice western/psych feel to it. "May Sun" (6:10) returns to the heavy space rock sound. The keys, bass and guitar are solid against a heavy and moderate beat by Baker. Simon House provides violin on this track again, and again he gets plenty of time to shine even with the many layers of synth noise and loud bass. Davey's vocals are mysterious and somewhat monotone.

Paul Rudolph returns on guitar for "Goodbye Death Valley" (4:45), which starts off after a short synth introduction. The track is a fast space rock song with an extended jam that easily would fit comfortably on any Hawkwind album. Alan does his best calling on his inner Lemmy-style vocals. "Free Like Us" (5:04) also features Rudolph on guitar and brings back Bridget Wishart as guest vocalist. This is another fast space rock jam style song, but with the refreshing female vocals. It makes you wonder why she wasn't utilized more in the Hawkwind days. "Old Dinah" (4:21) brings back Baker one more time with a solid moderate tempo, and a very psychedelic sounding track about the train. Mick Slattery also returns on guitar, and Kevin M. Sommers (who has worked with Alan Davey in the past) lends his off-key, but appropriate vocals. "Hawkestrel" (4:59) is the only track completely performed by Davey. Not a bad track, but it's interesting how the thick track allows nothing to really stand out here as everything except the vocals are buried in layers of instruments, at least until the 2 minute mark, when everything breaks down and gets atmospheric, and then a nice soft guitar solo plays against meandering space effects and synth loops. The last track ends the album with a loud and rocking remake of "Bad Boys for Life (2019 AD Version)" (3:26) sung by Lemmy Kilmister (bass and vocals from 1971 ? 1975, well-known for being Motorhead's frontman, who died in 2015). This is a very appropriate way to end the album with a bang, and this remake is quite good, with a nice synth solo at the end that plays well against the heavy guitar.

If there are any Hawkwind or Hawkwind tribute albums out there that successfully brings back the glory days and sound of Hawkwind, then this is it. The sound is great, the atmosphere and performances are perfect, and somehow, everything ties together into one excellent cohesive package. This is the best Hawkwind album that Hawkwind never released in any of their incarnations. It is totally enjoyable and brings back the most faithful rendition of their sound that I have heard. Hawkwind fans definitely need to hear this one, and it would easily fit in their repertoire. The addition of guests that have had a chance to work with the band in this tribute only makes it that much more enjoyable and authentic. The work of all of these guests is very well balanced also, so that their distinctive work can easily be heard and not drowned out by layers of guest work on only a few tracks, instead, spreading the performances out evenly, only make this album that much better. This is definitely a five star album that I will return to often.