Doctor’s Orders: Hamish Hawk prescribes his nine favourite albums
Edinburgh’s Hamish Hawk has been making waves as one of the most exciting and individualistic songwriters on the scene for a while now. His last album, 2021’s Heavy Elevator, saw Hawk and his band begin to enter a new area, breaking off from his early work with a refined sound that contained flecks of Pulp, Bill Callahan and Scott Walker. Crafting a cinematic style comprised of equal parts irony and honesty, the record marked him out from the crowd as truly authentic, an aspect often missing from the work of contemporary acts.
Now, with his long-awaited follow-up to his 2021 album, Angel Numbers, Hawk has made good on the promise of his last effort and delivered what might one day be regarded as his masterpiece. A glorious power pop journey, the project boasts both anthemic moments and reflective cuts. On top of the musical dynamism, the Scotsman’s sharp wit and lyrical prowess carry the record, proving himself to be one of the best songwriters in the business.
Given that Hamish has such a personal connection to music, we sat down in conversation and asked him to prescribe his nine favourite albums for our latest Doctor’s Orders. During the enlightening chat, he chose a handful of classics, as well as niche cuts. The records mentioned provide a means of escaping the mire of everyday life and brief hints about what to expect from the future of Hamish Hawk. We get the sense he is only really getting started.
Continuing with our Mental Health Awareness campaign, Far Out has teamed up with the suicide prevention charity CALM to help connect readers with their favourite artists to hear how music has helped them during their darker times and in day-to-day life. The organisation, with the full name of ‘Campaign Against Living Miserably’, offers a free, confidential and anonymous helpline for those most in need of mental health support.
If you or someone you know is struggling, head over to thecalmzone.net for practical support and advice. There are loads of ways to support CALM and their life-saving services. If you fancy making a small donation, £8 can answer a potentially life-saving call.
Hamish Hawk’s nine favourite albums:
Antony and The Johnsons – I Am a Bird Now (2005)
The first album that Hamish chose was Antony and The Johnson’s second studio record, I Am a Bird Now, their Mercury Prize-winning opus. Boasting exquisite pieces such as ‘Hope There’s Someone’ and ‘You Are My Sister’, the record is noted for the brilliance of Anohni’s voice, which is one of the most emotive out there.
Discussing the project, Hamish explained: “I heard I Am a Bird Now by Antony and the Johnsons for the first time back when it won the Mercury Prize, and I can’t exactly be certain what year that was. I remember exactly where I was. I was in a friend’s bedroom. And she had a little sort of boombox in the corner. She had, I Am a Bird Now, I presume? Because she pressed play and ‘Hope There’s Someone’, and Anohni’s voice rang out. And it was just…you know, there are great vocalists when the first time you hear them they pique your interest immediately.”
Hamish added: “I had never, and I don’t think even to this day, I don’t think I’ve ever heard a vocal that has the quality of Anohni’s vocal. It’s a truly spellbinding voice. I’m usually quite speechless when I think about Anohni’s voice because I think about that moment almost every time I hear it. The music completely transformed the whole room. And just everything stopped.”
The White Stripes – The White Stripes (1999)
The second album Hamish opted for was the debut studio album by the now-defunct garage rock duo The White Stripes. A slightly overlooked title in favour of their later releases, this selection makes a lot of sense that Hamish should choose such a record, as it accounts for the punchier guitar moments in his oeuvre.
Discussing his decision, Hamish said: “Favourite is one of my favourite words. And for years and years and years, you could bank on if ever I was asked to name my favourite band where I would say, The White Stripes. They just were a huge part of my musical upbringing. They were my band when I was listening to them. The first record – the self-titled album – I think is an underappreciated album in The White Stripes catalogue. It is an absolutely ferocious statement of intent. I think you really will struggle to find a rawer, more assured debut.”
The Magnetic Fields – 69 Love Songs (1999)
A more niche choice, Hamish’s third pick was 69 Love Songs, the sixth album by American indie pop troupe The Magnetic Fields. A three-volume concept album, the LP has long been believed by fans of the band to be frontman Stephin Merrit’s finest work.
After telling Hamish I’d never heard of the album, he explained with pleasure: “Well, it gives me such joy to be able to share it with you because you absolutely must listen to it. The Magnetic Fields are a New York-based outfit, headed by Stephin Merritt, who is their principal songwriter and lyricist. 69 Love Songs is essentially their trademark album.”
Effusing about the record, Hamish divulged that 69 Love Songs had a profound impact on him as a songwriter: “It is an entire universe in miniature. It is a beautiful album; there is no album in the world I have listened to more than this,” he said. “There is no album in the world that I listen to more regularly and return to more than this. There is no album in the world that has informed my own songwriting more than this. Honestly, I think you’d be hard-pressed to find a richer, more varied, more humorous, more endearing, more carefully constructed and memorable album.”
Camera Obscura – Let’s Get Out of this Country (2006)
Glasgow indie-pop outfit Camera Obscura are a cult band whose blend of twee pop and Americana you can hear colouring in the sounds of Hamish Hawk. A band that has always had a mature outlook, both lyrically and musically, listening to Angel Numbers, the band’s influence on Hamish is evident. Perennial nonconformists just like him, this has always been their strength.
“This was another album that came out when I was a teenager, and I loved it then, and I love it now,” Hamish told Far Out. “I think music for a lot of people isn’t just about the album or the songs. It’s about who you were when you heard them. And for me, Camera Obscura reminds me of the late teenage years where I was starting to grow out of the kind of awkward teenage phase into a slightly, ever so slightly, more assured, and socially acceptable period,” he explains.
Concluding, he said: “Tracyanne Campbell is the lead singer, and not only is she one of my favourite voices in music, but she is one of my favourite Scottish voices. The album is just so so pretty. It’s reminiscent of quite classic ’60s pop or even French pop. It is a classic-sounding album. It’s one of those that sounds older than it is. But it never veers too far into nostalgia or pastiche. It’s very much its own thing. And they were true to themselves. Camera Obscura sound like Camera Obscura.”
Withered Hand – Good News (2009)
Good News is the first full-length album by Withered Hand, the project of English songwriter Dan Wilson. He is now based in Edinburgh, the same city Hamish calls home. An indie rock staple that examines Wilson’s upbringing in the Jehovah’s Witness faith, it is a self-aware record, openly acknowledging its artistic debt to American acts such as Silver Jews.
Of the record, Hamish said: “Withered Hand is the sort of moniker or nom de plume of Dan Willson, who is a songwriter and lyricist based here in Edinburgh. And I’m privileged enough these days to call him a friend. This album – and I can speak for the other members of my band as well – in saying that this album is one that unites all of us in the band.”
Detailing further, he added: “It is a singer-songwriter’s album. He is an astounding lyricist, and he has a style unlike anyone I’ve ever heard. He’s quite plain speaking; he’s self-deprecating; he’s funny. The world in the album is only small, but it’s through that lens he deals with life, death, love, infidelity and faith. It’s an album that I’ve shed quite a few tears listening to. And I’m sure he did when he was writing it.”
Bill Callahan – Sometimes I Wish We Were an Eagle (2009)
One of the songwriters that Hamish Hawk is often mentioned in the same breath as is Bill Callahan, the man behind Smog. A creator of music described as apocalyptic folk and gothic country, Callahan is a wholly unique songwriter, so there’s no surprise that Hamish counts him as one of his favourites.
“Incredible title to start – Sometimes I Wish We Were An Eagle. Bill Callahan’s one of those,” Hamish explained/ “I could choose quite a few Bill Callahan records or his alter ego, Smog’s records. I think for people who don’t know Bill Callahan or haven’t explored his work, I think the first thing that will speak to you will be the vocals. I think his voice is just beautiful. The songs are beautiful. I’ve used the word profound a lot. But I think Callahan, through his delivery, through the intimacy of the vocals and the simplicity of the music, as well as the almost quietness of the music, I think he’s able to touch on the profundity of ordinary human situations, more so than most”.
Bob Dylan – Blood on the Tracks (1975)
Although the discussion surrounding the ultimate Bob Dylan album will likely rage on for eternity, for many devotees of the Duluth native, 1975’s Blood on the Tracks takes the crown. Featuring masterpieces such as ‘Tangled Up in Blue’ and ‘If You See Her, Say Hello’, it’s hard to argue against Blood on the Tracks being one of the old troubadour’s best.
Asked to summarise the album in five words, Hamish responded: “I think it’s enigmatic. It’s honest. It’s diverse. I mean, it’s impressive, and the fifth word – exquisite. The thing is, I could choose many Bob Dylan albums, and my favourite Bob Dylan album changes all the time. I just don’t know how this album was done. It just feels like an impossible feat for someone to try and put an album together like this. The range; the world that is contained within these songs. Most songwriters would be comfortable having written one line as high quality as just one moment on these songs. Most songwriters could live on that. I really don’t think there is a songwriter that I can think of that has achieved a level of craft as Bob Dylan has.”
Purple Mountains – Purple Mountains (2019)
The next album that Hamish chose was the only album by Purple Mountains, the last record of the band’s founder and Silver Jews frontman, David Berman, recorded before his heartbreaking suicide in 2019. Featuring cuts such as ‘All My Happiness Is Gone’ and ‘Darkness and Cold’, there are serene points and more challenging ones. A stellar way for Berman to bow out, this will always be remembered as one of his best works.
Hamish said: “It’s exquisite indie rock. I don’t think there’s a bad song anywhere near it. I think, once again, he’s a lyricist that people would be happy if they even had an ounce of what he was working with. I always get the sensation when I listen to Purple Mountains and Silver Jews that what he’s trying to address; I don’t think you can phrase it better. I think this is as near to perfect as you can really get on some of these lines.”
The Velvet Underground and Nico – The Velvet Underground and Nico (1967)
The final album that Hamish opted for in his collection was the debut album by the Lou Reed-fronted rock band The Velvet Underground, for which they brought along German singer and model Nico. An undisputed masterpiece that pushed boundaries and laid the foundations for what would become known as alternative rock, it was also the moment that John Cale burst onto the scene with his unique, droning style on the electric viola, which would also prove to be majorly influential. From ‘Venus in Furs’ to ‘I’ll Be Your Mirror’, there’s a range of classics here.
Explaining his choice, Hamish said: “The Velvet Underground & Nico occupies a space entirely of its own in my musical imagination. I could talk on the subject for a long, long time, given the opportunity, but in a nutshell, there isn’t a record that hits me where this one does. It’s entrancing, almost frightening in places, dangerous and pretty beyond belief. It’s Nico’s voice like some dark angel down a hallway, it’s Lou’s swagger and near-perfect poetic observation, it’s Cale’s daring, thrilling arrangements. Albums like this absolutely never happen. I went through a period of listening to it daily on waking. I’ve heard it hundreds of times and am still entirely under its spell.”
Never Miss A Tale
The Far Out Bob Dylan Newsletter
All the latest stories about Bob Dylan from the independent voice of culture.
Straight to your inbox.