On HRM002 Marquis Hawkes delivers his take on Georgian myths. Each track of the EP is dedicated to one realm in the Georgian cosmology. A1 'Zeskneli' takes us to the white heavens, where the gods reside. A raw and hypnotic house track, deep and celestial. On the B-side we are bound to the earthly plane of 'Ukana Skneli'. Trippy yet percussive, Marquis Hawkes shows off his funky side. His vision of the underworld 'Kveskneli' is rich in soul and unapologetically dancy. A beautifully crafted journey through mythology and sounds.

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Marquis Hawkes kicks off 2019 debuting on UTTU with 4 romantic house gems aimed at the mind, body and soul of the dance floor.

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Berlin based electronic mainstay Marquis Hawkes has announced details of his second LP ‘The Marquis of Hawkes’, due out 24th August 2018. Ahead of this, Hawkes will release a new single featuring acclaimed UK soul singer Jamie Lidell on the 20th July. The single, entitled ‘We Should Be Free’, features, alongside the low slung but melancholic original version, three reinterpretations of the song, remixed by Hawkes himself. Both this, and the essential previous single from June, “Don’t U”, which featured the vocal talents of Ursula Rucker, will appear on the forthcoming album in an extended version. The album will be the producer’s second LP for us, following his critically acclaimed debut ‘Social Housing’ for the label, which was released in 2016. Entitled ‘The Marquis of Hawkes’, the new album adheres to a specific sound palette whilst still displaying eclecticism across its eight tracks. Opening with the beat-less droning ambience of ‘Beton Theme’, the album takes in a variety of themes from across the house music spectrum, from the deep and dubby meditation of ‘Instrument Of Thought’ to the body jerking rhythms and retro bass stabs of ‘Tough Love’, the introspective mood of ‘The Matrix’, to the soulful New Jersey styled House grooves with a contemporary twist of ‘Sunset’, building through the optimistic joyousness of ‘Hope In Our Hearts’ before closing with Lidell’s heartfelt and passionate emotional overload on ‘We Should Be Free’.

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Berlin based electronic mainstay Marquis Hawkes has announced details of his second LP ‘The Marquis of Hawkes’, due out 24th August 2018 on fabric’s in-house label Houndstooth (home to Call Super, Aïsha Devi, Special Request and more). Ahead of this, Hawkes will also release a new single featuring acclaimed UK soul singer Jamie Lidell. The single, entitled ‘We Should Be Free’, features, alongside the low slung but melancholic original version, three reinterpretations of the song, remixed by Hawkes himself. Both this, and the essential previous single, “Don’t U”, which featured the vocal talents of Ursula Rucker, will appear on the forthcoming album.

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Marquis Hawkes returns to where it all began! 4 club ready bangin' body jerkers. Limited hand stamped vinyl with inlays

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Marquis Hawkes returns with a new EP for Houndstooth, ‘Sweet’. Pairing up a sugary R&B sample with his signature swinging but slamming beats, opening cut ‘When I Get Home’ is a return to the flavour of last year's summer smash ‘Can't Find A Reason’, although this time around, it's more tracky and introspective. Next up, a different facet of Hawkes’ production talents is reprised with ‘At The Witness Stand’, a trippy take on classic NY freestyle. Opening the B-side, title track ‘Sweet’ furthers Hawkes’ trademark rough and ready house sound with distinctive vocal hooks and a hip-twitching rhythm, whilst bringing up the rear, ‘What A Relief’ is a raw but inescapably funky drum workout that would make the likes of Traxmen & Eric Martin proud.


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The aptly-titled 'Raw Materials' sees Marquis Hawkes making a welcome return to the primitive house rhythms for which he became known via his early work for Dixon Avenue Basement Jams. Highly influenced by house originators Ron Hardy, Gene Hunt and Roy Davis Jr, 'Raw Materials' updates the form with modern production techniques whilst preserving its authenticity. The title track eases us in, with dreamy vocals, dusty pads and deep 808 beats. The flip, however, takes no prisoners with two cuts of raw drum machine clatter and strained vocal cuts on ''Ave That' and primal analogue tones on 'Jerk U Later': deadly dancefloor destroyers designed to drill straight to your core. Cut to 140g vinyl by Matt Colton at Alchemy Mastering with Houndstooth printed inners.

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The Berlin based producer and DJ Marquis Hawkes is next to take the baton for Creme Organization with another of his searing EPs. Before now Hawkes, about whom little is known, has released a diverse array of rough and ready, raw and ripping tracks that range from deep house to jacking acid, weird techno to freaky electro on labels like Dixon Avenue Basement Jams and Clone Jack For Daze. First up here is 'Tunnel', a slow and lazy house cut with rubbery bass drums and sharp edged hi hats making for an inviting groove. Starry melodies unfold up top like a classic night sky and deep, spacious synths flesh out the simple but effective track. Next cut 'Prince Among Men' is a much more prickly and synapse firing affair with random hits, stuttering drums and chopped up vocal samples all chucked together into one fierce brew of soulful analogue noise. On the flip, 'Sofa Acid' is riddled with hiccupping 303 lines and proceeds at an inviting mid tempo pace, whilst closer 'October Blues' is a deconstructed house jam with rave whistles, cow bell pings, wooden hits and tinny drums all loosely glued together into a slow and sombre track that oozes a freaky late night moodiness. Overall, then, an EP that fits in perfectly with Creme and is another fine release from the man they call Marquis Hawkes.

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We had an inkling that it wouldn't be long before Marquis Hawkes reared his mysterious ass again. Even after the success of his last drop for DABJ we're no closer to finding out the real identity of this cheeky funkmonger. He's probably holed up in his caravan right now, taking massive bong hits, fingering his 808 and having a good old laugh at us all. And if he isn't doing that then he's most certainly at the club, double-fisted with two fine single malts and draped in wimmin, while the DJ drops his shit. "Higher Forces at Work" is a solid entry in what is rapidly becoming a signature sound: raw ghetto elements mixed with deep and melodic arrangements. The rolling funk of "Automatic" is the most minimal Hawkes production yet but we're not talking no Teutonic functionalism here, just a stripped-back deep-bass bliss teetering on the brink of a disco meltdown that never quite happens. Title track "Higher Forces" and "Divine Intervention" are the best examples of Hawkes Ghetto inclinations here. Both have that ripping, flanged percussion that cuts dancefloors to ribbons, with "Divine Intervention" acting as a sort of acid-driven counterpart to the electronic soul of "Higher Forces". "I Want You" is almost this E.P's answer to the righteous thunder of "Sealion Woman" from the last cut. Although, the tracky punishment of the latter isn't quite present on here, Mr. Hawkes certainly knows how to wield an old-time sample in a deft fashion and the surging bass and jungle percussion of this track will take the heads to elevated levels. To cut a long story short: Marquis Hawkes delivers another hit of real, rockin' raw shit mainlined straight to tha jugular and every ounce of hype he's been graced with recently is utterly deserved.

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After a thorough testing on dancefloors across Asia, we have put together four tracks most in demand, all edited by the Homesick team and their close friends.


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Since launching in early 2014, the Hong Kong-based Homesick series - an offshoot of Cliche Records - has provided disco DJs with some of the strongest edits of recent times; reverential but floor-friendly reworks that get the right balance between re-mastered original parts and house-friendly additional beats. This third volume comes from Borrowed Identity, a house producer whose edits and productions have appeared on an impressive list of labels. These four reworks are predictably tidy, soulful and groovy, with familiar disco and soul staples being given loose but heavy rearrangements. Picking highlights is tough given the high quality threshold, but we're particularly taken with the vibraphone-laden party shuffle of "Run Run Run" and low-slung Afro-disco strut of "You Can't Change A Man".


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Music is strongly linked to memory; sometimes just a simple note will trigger a deep feeling of nostalgia or emotion. The new Homesick series was created by music enthusiasts living half a world away from their birthplaces. Their concept is to play on memory, to re-edit and rework songs from the past into something which is timeless; tracks which feel fresh but remain true to the original.A For the second release, the Homesick team went digging through old DAT tapes and have the honour to repress the mythic "Dance 6" vinyl 12" by DJ Kom.A It was originally released in 1997 and playlisted by Daft Punk in their "BBC Radio 1's Essential Mix" the very same year. Listen how Dance 6 pumped up these tracks with their Roland 909, 303 as well as vintage samplers, adding the inimitable grit that made these tracks absolute dance floor fillers back in the 90's.


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Music is strongly linked to memory; sometimes just a simple note will trigger a deep feeling of nostalgia or emotion. The new Homesick series was created by music enthusiasts who are living half a world away from their birthplaces. Their concept is a play on memory, to re-edit and rework songs from the past into something which is timeless; tracks which feel fresh but retain their memories. For the first release, the Homesick team have curated three pieces by Drop Out Orchestra, Late Nite Tuff Guy, Zimmer, and Amadei. DOO have carefully reworked "No Scrubs" into a warm, bass driven, disco jam suited for the dancefloor;ALNTG has provided a solid Groove Theory lesson as only he can, and the EP is rounded-off with a special (double) bonus track for all the people who love 80s-era French pop music, reworked by Zimmer and the Asia-based newcomer Amadei.


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