DISCOGRAPHY
Gothic Flamenco
"13 Tracks. Released 13th December 2004 courtesy of Bronze Records Ltd.
Unlike traditional Flamenco, Gothic Flamenco has a different structure at atmosphere that draws from Classical, Rock, Jazz, Industrial, Latin and of course Spanish sounds, plus the dance rhythms that are associated with Flamenco music.
Improvising using Flamenco techniques mostly centred on the Flamenco guitar.This creates a darker, more emotional and hard edged feel to the music.
Overall, it has a more mysterious movement and yet still delivers recognisable techniques (ie. rasqueados, falsetas and compas).
As with Gothic architecture, the overall works have a solid, well built
framework, but with a flexibility in structure, allowing for more
freedom, expression and creative individuality within their various
elements."
Steel Storms & Tender Spirits
"This double cd, divided between the 'Steel Storms' of guitarist G P Hall's electronic soundscapes, or Jazz - Rock group work and the 'Tender Spirits' conjured up by his (generally solo) more contemplative music, provides the best exposition yet of his multifaceted talent.
His ability to move easily between fearsome industrial noise abstraction, thundering beats driven by drummer Sam Brown, haunting Jazz (often featuring the plangent trumpet or either David Ford or Andy Hague), and the most delicate of solo acoustic meditations influenced by Flamenco would suffice to mark him out as a genuine original; his incorporation of a variety of additional textures and sounds makes him unique."
Chris Parker, The Times 11th December 1998.
Each A Glimpse & Gone Forever
"An extravagantly gifted and (reflecting his wide travelling and careful listening) commendably open-eared musician, GP Hall, has been performing his (mainly) solo guitar sound sculptures and acoustic pieces for long enough to have established himself as one of the UK's most adventurous and imaginative musicians.
This album contains over 70 minutes of extraordionary music, culled from live performances all over Britain. It showcases his uniquely eclectic approach perfectly, (one piece is accurately described as a "Reggae, Irish, Classical, Spanish mix").
Whether in filigree-delicate acoustic or Industrial soundscape mode, or merely rocking out over pre-recorded rhythm tracks, he is a highly individual artist, who should be much better known.
Essential listening for not only guitar buffs, but also anyone interested in cutting edge, contemporary music."
Chris Parker, The Times 29th May 2000
Industrial Blue
"Guitarist G P Hall specialises in 'Sound Sculptues' utilising everything from battery shavers to toy cars and all manner of electronic, guitar triggered gizmos, to create a unique and immediately identifiable sonic world, but his multi-textured compositions should be enjoyed by anyone with even a passing interest in guitar playing, either acoustic or electric.
'Industrial Blue' (on the 'Burning Shed' label), anthologises material from previous Hall albums, ranging from shimmering waves of ethereal guitar sound to powerfully atmospheric pieces, underpinned by the blisteringly heavy beats that gave the album its name, and thus provides a useful entry point for new listeners, wishing
to aquaint themselves with the work of a strikingly virtuosic, wholly individual musician."
Chris Parker, The Tablet
Mercurial State
"Mercurial State is mainly comprised of acoustic material,
Setting the tone with the affectingly sinple 'Temple Of Dreams' and the straightforwardly emotive 'Barcelona Sunrise', Hall explores a wide range of the gentler emotions, in a characteristically rich and varied selection of compositions.
Using an extroadinary assortment of electronic paraphernalia, in addition to using aids ranging from toys and battery shavers, to chirping mechanical crickets, Hall creates what can only be described as 'Sound Sculptures'."
Chris Parker 2003
Marks On The Air
"G P Hall has clearly discernable roots in blues and Flamenco and his music is an entirely individual, consistently exhilarating mix of electronic sound sculpture (ranging from insect swarm to industrial machinery effects), cosmic noise, filagree acoustic delicacy and straightforward screaming electric guitar.
All this harnessed to produce everything from hymnic meditations on natural beauty, to what Hall calls 'Industrial Blues'.
Recorded at London's Spitz and Wiltshire's Phantom Theatre, this album should be investigated by anyone interested in exploring the outer limits of electric music."
Chris Parker, The Times January 16th 1998
Mar -Del- Plata
"Mar-Del-Plata is in one hand a collection of familiar guitar stills (British art/blues, World Flamenco, Classical, Free Jazz). In the other a batch of implements (battery razors and fans, strips of velcro, bows, metal tubes, toy cars), used to tickle reluctant strings in to speaking in new found voices.
What emerges is music that tugs at the spirit, the way that weather tugs at the air that enfolds us, Plangent global sense music, alive, sometime graced with pianos, violins, percussives, mal treated autoharps... but whether ensemble or solo, centred on the sonic universe, which with the right imagination you can call out of a guitar."
Dan Chinn Avant 3
Imaginary Seasons
"His latest recording, Imaginary Seasons, a retake of Vivaldi's famous 'Opus', certainly does not follow orthodox lines.
Each season is rewritten with digeridoos, whistles, bicycle spokes and selective 'noises', augmenting guitar adagios, flute sections, brass and percussion.
Underpinning all this are Hall's 'Industrial Sound Sculptures'. "
Mark Prendergast, Sunday Observer
Unknown Public
The track 'Sandstorm' featured on the album 'Unknown Public' has been played and enjoyed on Radio 3.
"I particularly enjoyed G P Hall's acoustic impression of an African desert.
Unknown Public, which won the music secion of the Prudential Awards, always gives food for open ears and minds."
Adam Lively, The Mail On Sunday March 17th 1996
Figments Of Imagination
"On 'Figments of Imagination's title trach, Hall embellishes his electric guitar. Over the resultant rich, rippling delay looped wash, David Ford and Vicky Burke engage trumpet and soprano sax, with an interplay reminiscent of the best of the best of Mark Isham.
Working solo, Hall delivers the most modern and possibly the lovliest track on the record in the shape of 'Heat On The Horizon'. A slow blue-classical, acoustic melody meditates over a dark haze of sound, formed by deconstructed autoharps and gonging, tube swept stratocaster; flickering like the memory of a distant sunset seen accross a plain. This is music that you can practically touch, that leaves marks on the air and textures hovering on the fingertips. Infusing, subverting, redifining traditions."
Dan Chinn Absolute Jazz 15th February 1997
Colors: Movements & Colors: The Collection
" Hall's use of appliances has got nothing to do with the Industrial noise of, say, Einsturzende Neubauten or Test Dept, but is made an integral part of satisfyingly emotional compositions, that take the listener on a journey through different phases, mental locations and states of feeling.
Of his many albums, Colors Movements 1986, serves as a diverse introduction to his complex but beautiful world.
One very good compilation of new instrumental music, on which Hall appears is,
Colors: The Collection (Kenwest 1986). "
Mark Prendergast Sound on Sound April 1989
