Peter Joseph Andrew Hammill (born 5 November 1948, in Ealing, west London) is an English singer-songwriter, and a founding member of sixties underground (often described as progressive rock) band Van der Graaf Generator. Most noted for his vocal abilities, his main instruments are guitar and piano. He also acts as a record producer for his own recordings, and occasionally for other artists.Contents [hide] 1 Biography 1.1 Early career 1.2 During Van der Graaf Generator and the first years after 1.3 Live performances 1.4 Label Fie! 1.5 Later years 2 Music 3 Voice 4 Lyrics 5 Personal life 6 Discography 6.1 Studio albums 7 Notes 8 Further references 9 External links
[edit] Biography [edit] Early career
Hammill's solo career has coexisted with Van der Graaf Generator's activities. The band was offered a contract by Mercury Records in 1968, that only Hammill signed. When Van der Graaf Generator broke up in 1969 he wanted to record his first solo-album. In the summer of 1969 Hammill had a residency at The Lyceum and played weekly solo-concerts there[1]. Eventually the intended solo-album was released under the Van der Graaf Generator-banner as their first album (The Aerosol Grey Machine)[2]. Hammill's first real solo album was Fool's Mate (1971), containing songs from the early (1967/68) Van der Graaf Generator-days. [edit] During Van der Graaf Generator and the first years after
When Van der Graaf Generator broke up again in August 1972, Hammill resumed his solo career. Songs that were intended for Van der Graaf Generator, now ended up on his solo albums, notably "Black Room" (on Chameleon in the Shadow of the Night) and "A Louse Is Not a Home" (on The Silent Corner and the Empty Stage). This to some extent makes it difficult to separate Hammill's solo work during the 1970s from his work with the band (for the majority of both his solo songs and the band's songs he is credited as the sole songwriter, and some of his solo albums feature all the members of Van der Graaf Generator). In general, however, solo Hammill is concerned with more personal matters, while the band's songs deal with broader themes.
Nadir's Big Chance (1975) was a great change from the preceding In Camera. Whilst In Camera is characterised by extremely intense and complex songs and even has some musique concrete on it, Nadir's Big Chance is notable for its anticipation of punk rock. In a 1977 radio interview, John Lydon of the Sex Pistols played two tracks from the album and expressed his admiration for Hammill in glowing terms: "Peter Hammill's great. A true original. I've just liked him for years. If you listen to him, his solo albums, I'm damn sure Bowie copied a lot out of that geezer. The credit he deserves, just has not been given to him. I love all his stuff"[3].
Over (1977) contains very personal songs about the break-up of a long-term relationship.
Hammill's first solo-album after the 1978 break-up of Van der Graaf was The Future Now. With the next albums, pH7 and A Black Box, the sound became more compact, more new wave. On those albums, Hammill played the drums himself. What followed was the "K group". In later years Hammill would sometimes refer to the band as a "beat group"[4]. The K group consisted of Hammill himself on guitars and piano, with John Ellis on lead guitar, Nic Potter on bass, and Guy Evans on drums and percussion. This group recorded the albums Enter K and Patience. [edit] Live performances
Live concerts by Peter Hammill are characterised by a degree of impredictability, in terms of the songs played, the arrangements and the players involved. Hammill generally does not undertake live-tours to promote albums. Whenever he plays with a certain predominant line-up, almost always there will also be concerts interspersed with different permutations of musicians, so the word 'tour' is not always very applicable.
From September 1981 until September 1985 Hammill played with the K Group, playing raw, energetic, new-wave rock. A live recording of a number of these concerts was released as The Margin.
From February until October 1990 he played with Nic Potter on bass and Stuart Gordon on violin. A live recording of these shows was released as Room Temperature. From April 1993 until August 1996 he played with Nic Potter on bass, Stuart Gordon on violin and Manny Elias on drums. A live recording of these shows was released as There Goes The Daylight. This album is the only live album by Peter Hammill that is not a compilation of various live recordings, but instead is a registration of one single performance. From October 1994 until August 1996 Hammill played with David Jackson on flutes and saxophones, Stuart Gordon on violin and Manny Elias on drums (this line-up is sometimes informally referred to as the Peter Hammill Quartet[5]).
From January 1998 until November 2006 Hammill played with just Stuart Gordon on violin. Of these shows the live recording Veracious was released.
From 1969 on, Hammill has also performed solo concerts, with just guitar and keyboards. [edit] Label Fie!
Hammill's early records, like the Van der Graaf Generator albums, were released on Charisma Records. He parted company with them after pH7 (1979), and then released albums on a number of small labels. A Black Box came out on S-Type, a label run by Hammill and his manager Gail Colson. Enter K and Patience appeared on Naive, Skin and The Margin on Foundry and In A Foreign Town, Out of Water and Room Temperature on Enigma Records. In 1992 he formed his own label, Fie!, on which all his albums since Fireships have been released. The label's logo is the Greek letter phi (Φ), a pun on PH-I. Ever since the 1970s he has also had his own home recording studio, appropriately called Sofa Sound (his website was later named after the studio). [edit] Later years
Hammill survived a heart attack in December 2003[6][7], less than 48 hours[8] after having finished the recording of Incoherence. He was awarded the Italian Tenco Prize for songwriting at the end of 2004[9].
In 2005, Hammill announced the reformation of Van der Graaf Generator. In 2004 they had recorded a new album, Present, which was released in April 2005, and from May until November 2005 played a series of well received concerts.
Between 2005 and 2007 Hammill has overseen the remastering of almost all of his pre-Fie! releases, and has also started similar work on his more recent catalogue. The last of the Charisma remasters was released in September 2007.
Hammill's solo career did not end because of the Van der Graaf Generator reunion. He released his new album Singularity in December 2006. It was the first solo album he completed after his heart attack, and for a large part it deals with matters of life and (sudden) death.
In 2007 several gigs by Van der Graaf Generator as a trio (minus David Jackson) took place in Britain and Europe; their new album Trisector was released in March 2008.
In the summer and fall of 2008 Hammill did a tour of solo dates in the U.S. and Canada. In the summer of 2009 Van der Graaf Generator toured the U.S. and Canada.
Hammill's latest solo album Thin Air was released on June 8, 2009. [edit] Music
Musically, Hammill's work ranges from short simple riff-based songs to highly complex lengthy pieces. Mainly because of his refusal to make anything resembling middle-of-the-road music, and the general absence of any smooth or glamorous sounds in his music, there is much debate amongst his admirers whether Hammill is to be considered a part of the so-called progressive rock scene. In many interviews however Hammill himself has stated that he does not want to be put in the progressive rock music label, or any music label at all[10][11].
Hammill's output is prolific. Many different styles of music appear in his work, among them artful complexity (for instance Chameleon in the Shadow of the Night), avant garde electronic experiments (Loops and Reels, Unsung), opera (The Fall of the House of Usher), solo keyboard accompaniment (And Close As This), solo guitar accompaniment (Clutch), improvisation (Spur of the Moment), film music (Sonix), band recordings (Enter K), and slow, melancholic balladry (None of the Above). [edit] Voice
Hammill's voice is a very distinctive element of his music. He sings in an emotional, often even dramatic way. As a former Jesuit chorister, his delivery is usually (a notable exception is the track "Polaroid") Received Pronunciation British English (rather than Americanised), and ranges in tone from peacefully celestial to screaming rants (which are nevertheless highly controlled). Singing in registers from baritone to high falsetto, he growls, croons, shrieks and shouts in ways that have drawn comparison with the guitar playing of Jimi Hendrix[12][13][14]. [edit] Lyrics
Hammill's lyrics are another distinctive feature of his work. He has visited a number of recurring themes including love and human relationships, ageing and death, human follies, self-awareness and introspection, politics, and religion. He expresses these themes with a verbal dexterity that is rare in rock.[citation needed] His lyrics often include scientific, literary or historical references. For example, the Norse names mentioned in the song "Viking" on Fool's Mate (written with Judge Smith) are characters in the Icelandic Eiríks saga rauða (judging by the spelling of the names, Hammill's source seems to have been Magnus Magnusson's 1965 translation).
The science fiction themes of Van der Graaf Generator's lyrics are mostly absent in his later work, but there still are many science references, especially to physics (for instance in the song "Patient"). In 1974 Hammill published a book, Killers, Angels, Refugees (Charisma Books, London), a collection of lyrics, poems and short stories. This was later reissued by Hammill himself (Sofa Sound, Bath) and was followed by a sequel Mirrors, Dreams, Miracles (1982). [edit] Personal life
Peter Hammill moved with his family to Derby when he was 12[15]. He attended Beaumont College, Old Windsor, and Manchester University, where he studied Liberal Studies in Science[16].
He has been married since 1978 (his wife's name is Hilary, who is credited with taking the picture for the cover of In A Foreign Town), and they have three children, Holly, Beatrice and Phoebe. Holly and Beatrice Hammill sing soprano vox on one track of Everyone You Hold and on two tracks of None of the Above. Holly Hammill wrote the song "Eyebrows" (on Unsung) and co-wrote "Personality" (on Everyone You Hold). [edit] Discography Main article: Peter Hammill discography [edit] Studio albums Fool's Mate (July 1971) Chameleon in the Shadow of the Night (May 1973) The Silent Corner and the Empty Stage (Feb 1974) In Camera (July 1974) Nadir's Big Chance (Feb 1975) Over (April 1977) The Future Now (Sept 1978) pH7 (Sept 1979) A Black Box (Aug 1980) Sitting Targets (June 1981) Enter K (Oct 1982) Loops and Reels (June 1983) Patience (Aug 1983) Skin (March 1986) And Close As This (Nov 1986) In a Foreign Town (Nov 1988) Out of Water (Feb 1990) The Fall of the House of Usher (Nov 1991, deconstructed and rebuilt released in Nov 1999) Fireships (March 1992) The Noise (March 1993) Roaring Forties (Sept 1994) X My Heart (March 1996) Everyone You Hold (June 1997) This (Oct 1998) None of the Above (April 2000) What, Now? (June 2001) Clutch (Oct 2002) Incoherence (March 2004) Singularity (Dec 2006) Thin Air (June 2009)
