Lori Hawk

Country of origin:

U.S.

Type of music generally:

Ambient, ethereal, new age, bits of world music, bits of folk/rock

Status:

Most recent release, Alive in this Dream, 2003

See also:

Lori Hawk's site

Comparisons:

Louisa John-Krol, early Happy Rhodes, Susan Court, post-Led Zepplin faux-mediaeval rock (eg bits of Heart).

Covers/own material:

Own, often co-written

General comments:

The music is pretty and new-agey, with mediaeval touches and the odd flourish of loud guitars. The lyrics are mystical, spiritual and mythical. Lori has a clear and graceful voice with an impressive range and often overlays the vocals in a heavenly way; she allows character and roughness through in her voice when the song requires something more human. (k_hester_k@yahoo.co.nz)

Recommended first album:

Alive in this Dream is the first we've heard

Recordings:

• Where Is the Balance?
• Alive in this Dream

Alive in this Dream

Release info:

2003--Strata Records--220022-1

Availability:

See website for availability

Ecto priority:

Recommended for fans of new agey and mystical music

Group members:

Lori Hawk--vocals

Guest artists:

Alison Moon, David Finn--keyboards
Sam Hawk--acoustic & electric guitars
Lyle Workman--lead guitar
Robin Sylvester--bass
Toss Panos, Scott Smith, Walt Fulde--drums
Krishna Munoz--hand percussion, didjeridu

Produced by:

Lori Hawk and Sam Hawk

Comments:

I've come to find this album very pretty, often charming, sometimes beautiful, always appealingly mystical. However, I had to fight through instrumentation that isn't my thing!
     The gauze of keyboards is supposed to give an otherworldly feel, but for me they rarely sound beyond this world, but rather keep on pathetically trying to imitate this one. So the drone behind Lori Hawk's lovely voice on 'listening for you' doesn't have the majesty and in-an-ancient-cathedral feeling that she is aiming for, whereas the didjeridu and eastern percussion behind the similarly prayerful 'hand to the wall' gives the song grandeur. The false sweeping strings on 'alive' and 'as you hold me' don't quite sound angelic, and the keyboard wash in 'today' isn't as compelling as the disconcerting rumbling noises accompanying her disturbing descent from the sky. This is may partly be the result of a low-budget--maybe Lori would bring in real strings if she could afford them. Also, I think her rock references are 70s ones and I prefer different instrumentation.
     But against my natural inclinations, I've become fond of this album and am impressed by it. People who like new agey and mystical music with myth and metaphysics in their lyrics will really like it.
     There are bursts of loud guitar in 'for the kings' and 'free' (which is almost an alterna-rock song), which snapped me out of treating the album like background music. The lyrics are sprinkled with primordial forests, princesses, dragonfly wings, dragons, beggars, oracles and the Valley of the Dead, which are nice things to have floating around in the air. The words are often abstract and mystical (following the dream theme) rather than specific fairy tales. Lori Hawk can sing in a very pretty swooning way, but she allows her voice to go rough and human when required, such as the swooping chorus of 'free'--"I am free in your garden, I am free in your bed, I am free and forgotten, just a solitary scream, in the Valley of the Dead."
     'princess mary' is perky mediaeval-pop and 'swings' could be, with more percussion, but it is charming in its current softer incarnation; 'oracle' is a simple ballad accompanied by 12-string guitar. (k_hester_k@yahoo.co.nz)

Thanks to Karen Hester for her work on this entry.