“The resultant tracks are mystical and freeing, hypnotic and haunting, challenging our preconceptions while thrilling the senses; as with other covers but moreso, they also lead us to Paul’s substantive set of original works, which tender the same tenor and tropes, ridding us of our preconceptions about what folk is and should be, even as they echo of the modern indiefolk and neo-trad movements.”
“No Depression: 1/2012: The Fremont Abbey is a beautiful venue in Seattle's Fremont neighborhood. It's a refurbished old church, and the natural resonance of the venue is one of the hallmarks of its sound. Greg plays to this resonance in the echoey, sparse album The Fremont Abbey Session. Made up mostly of original material, the songs are quite beautiful, and channel some of the darker corners of the old-time Appalachian music that's long been an inspiration to Greg. He plays guitar, banjo and bowed banjo on the songs, and is joined by Holly Merrill on vocals and piano. I don't think I really get all of Greg's songs, but they're so intriguing that I want to. I want to understand more about his songwriting and his artistry and why his music is so deeply haunting to me on this album, and so I listen harder each time and get drawn deeper and deeper in. PS: The closing track on this album is a fascinating cover of Erik Satie's "First Gnossienne" with piano and bowed banjo!”
“Seattle Weekly 1/2012: "The hiss of analogue tape and the cavernous natural reverb of Fremont Abbey adds a layer of pathos to Gregory Paul and Holly Merrill's transcendent harmonies, lending an old-school air to Paul's already classic songwriting."”
"Lost Diamond" ...this particular song is epic, mysterious and very very cool. The narcotic melody and good singing lead the soft charge here. Touches of strings make it even heavier, and the reckless use of reverb somehow manages to avoid cheesiness entirely. Right on!
“With guitars, vocals, percussion, violins and electronics, electro-acoustic ambientician Gregory Paul creates a texturally all-over-the-place patchwork which encompasses many things.. oddly-entrancing folk-ethereal pieces where six-strings twang and sparkle in acoustic and electric varieties.”
“Paul's music transcends its' earthly limitations. "This Side Of The Ground," is bleak and haunting and stripped of any superfluous arrangements or production.”
“This is his fourth LP of making an acoustic guitar expand and shimmer into multicolor soundscape, to back and bolster his confident voice. An expert picker he is equally adept at banjo, saw, and anything to create a neo-symphonic climate for his soft-croon to swan dive into. Very transporting!”
“Delicate electronic atmospheres float over plucking banjo and rusty guitar like mist over Appalachian slopes, while Paul's restrained wail seems to carry all the history and sorrow that one imagines is soaked into the ground of that fabled setting.”
“Gregory Paul entranced the entire audience with slow, acoustic indie pop songs. After a short break, Paul brought out a good old electric six-string, complete with bow, and began what can only be called a duet with his violinist.”
“Paintings of musical tapestries and pin-ups of melodic pop arm the album with a soundscape unlike any other, proving that we as humans have only begun to experience our musical potential. Experimental pop-rock with psychedelic undertones that coast through melodies and harmonies like a speed boat.”
“In the mid-'90s, Paul played guitar in Stillmotion, a fine band specializing in British shoegazer rock. Over the years, he morphed into ambient music, featuring unstructured compositions that encourage improvisation. More recently, he's explored American roots.”
“Singer, songwriter, and multi-instrumentalist Gregory Paul has never been the type of artist easily pigeonholed into a particular sound. His various projects have run the gambit from college acoustic rock to shoegaze and experimental soundscapes to indie-rock and Americana.”
"A hybrid of atmospheric ambience and powerful acoustics"