A bilingual blog by Carmelo Ruiz-Marrero dedicated to all things fun, like music, cinema, comedy and sci-fi. Contact: firstname.lastname@example.org - Un blog bilingüe de Carmelo Ruiz Marrero dedicado a todo lo que sea divertido, como música, cine, comedia y ciencia ficción. Contacto: email@example.com
It’s possible that Mark Hawkins has several different groups of fans. If you were buying tough, jacking techno in the early-to-mid 2000s, you might have picked up his 12-inches for the iconic Dutch label Djax-Up-Beats, among others. Hawkins explored techno’s extremities, with grinding, fast-paced tracks that folded in influences from ghetto house. More recently, you may have enjoyed Hawkins’ dusky releases as Juxta Position. It hasn’t been his most prolific alias, with three releases since 2013, but the music has made an impact, particularly Juxta Position Vol.1, which came out on DVS1’s Mistress Recordings. You might even know him as ###, a pseudonym he used in the late ‘00s for a couple of minimal outings.
Then, of course, there’s Marquis Hawkes, the name he’s best know for. This is Hawkins’ outlet for interpreting classic house blueprints—in a string of releases since 2012, he’s tipped his hat to the sounds of Chicago, New York and New Jersey. Respected labels like Dixon Avenue Basement Jams, Clone, Aus Music and Crème Organization have signed his tracks, and Social Housing, his recent album, was the result of his ongoing relationship with fabric’s in-house label Houndstooth. (The album also reopened a debate surrounding appropriation, which Hawkins comments on below.) It featured some of the brightest and most celebratory music of Hawkins’ career, an approach that worked nicely for the transition to the album format.