This little gem of a supreme artist” – Silvio Pizzica, Ondarock. 

Gil Hockman is a musician from Johannesburg, South Africa. Gil was a late bloomer and only picked up a guitar with intent when already in his thirties. Since then he has been making up for lost time. Performing live with an electric guitar, synthesizer and loop station, Gil has played hundreds of shows across Europe and southern Africa. His sound has been described as “a new kind of futuristic folk mixed with pop mixed with fragments of electronica and rendered incandescent by echoes of the blues” (Nik Piras, Amica) and each of his successive releases have been met with critical praise.

In November 2017 Gil released Becoming and with it he continues to mould his own voice. The traditional tools of the singer-songwriter have again been combined with elements that are more electronic and atmospheric and while Gil’s array of influences is ever-widening the overall effect is of something being brought more into focus. Each track stands on its own as a musical idea but each contributes to the complete whole. Lyrically, the shift is maybe more dramatic. Gone are the ruminations of love lost to be replaced by an investigation of the paths through life along which we all must travel.

His previous releases include Dolorous (2014),  All The Things (2013) and Too Early In The Journey (2011) and the single Baby Shoes (2013). They can all be found at gilhockman.bandcamp.com.

Gil also composed film scores for Fatherland (2013) and Timelines (2016) and his songs won the Best Soundtrack award at the 2015 Fusion Audience Choice Awards for the short film I Am Juli.

What they’ve said about Becoming:

“One of the most beautiful singer-songwritings of 2017” – MusicMap

“Loosely curved songwriting mixes lo-fi synths and sometimes hectic rhythmic particles with sensual-lost melodies, so light yet so expressive that it’s a real pleasure.” – Intro

“Darker and more intriguing than the first opus…Gil retains a free, modern spirit that propels his music beyond the Folk label…Simply beautiful.” – La Magic Box

“A child of the spirit of the times, that Hockman” – Gonzo Circus

“Placing itself between art-folk, classic rock and indie-pop, finding in each genre all that can stick together with strong and intelligent melodies.” – Liability

“Ten charming, beguiling lo-fi pieces” – NONPOP

“A disarmed mix of tradition and the future. With his futuristic folk, including folktronics and indietronics, he brings his songs to the audience in a golden way.” – De Subjectivisten

“An album that brings Conor Oberst closer to Elliot Smith via Mark Kozelek.” – Rumore

“A refined pop that has an affinity with the solo Damon Albarn” – Rockerilla

Gil Hockman seduced in 2015 with the album Dolorous . Without much change to his melancholy folk pop style, he comes back with 10 adorable songs.” – Pop Revue Express

“The songs are mostly in minor colors, but this is the sadness called sweet, they listen with pleasure and you regret when they end.” – Jazzquad


“A new kind of futuristic folk mixed with pop mixed with fragments of electronica and rendered incandescent by echoes of the blues” – Nik Piras, Amica.

“This little gem of a supreme artist” – Silvio Pizzica, Ondarock.

“I love to lose myself in the spaces of the deliberately minimal music of Gil Hockman…’Dolorous’ is one of those albums that you listen to, and you consume, slowly.” – Claudio Baroni, Libero.

“Dolorous is worth a listen and this singer deserves more than the few hundred Spotify plays on his songs” – Agathe Danon, Indie Style

“He is able to write simple and delicate pieces. He manages to move without falling into pathos. Using a simple folk or electric guitar and a synth, it works wonders.” – Béber, MusicZine

“Dolorous is a beautiful hymn to the Spleen, the gentle heat of melancholy, au taedium vitae, a dangerous game that claimed the lives of Kurt Cobain, Elliott Smith, Ian Curtis, Mark Linkous …” – Mike S., La Magic Box

“Gil Hockman prints his music its own brand, made ​​of tranquility and nostalgic melancholy introspection.” – François Becquart, Music In Belgium

“We are pleased to finally hear a supposedly folk album that is not as tiring. Skilled in his arrangements, minimal, Hockman puts life in his allegory” – Will Dum, MuzzArt

“The production is top notch all around. Hockman makes some bold leaps on Dolorous…[his] songwriting just seems to be getting better and he knows what works in the studio. This is a very fine effort and is highly recommended.”
- Matt Jensen, The Equal Ground

“Dolorous shifts Gil’s music (and career) into another gear, delivers something new and unexpected. It both rocks and rolls, and it’s incredibly diverse both lyrically and musically.”
- Floris Groenewald, SA Music Scene

Live Reviews

“Gil has some of the most charming vocals on a male I’ve ever heard”
- Jordan Koen, Another-Day.co.za

“Hockman rises above the category of struggling Jo’burg musicians”
- Roy Bouwer, South African Music Scene

All The Things

“It’s his dolorous voice that holds the centre. Hockman’s combination of poignancy and dry humour echoes Sun Kil Moon’s equally lovely take on life’s trickier side.”
- Diane Coetzer, Rolling Stone.

“The songs are great, the production is crisp…but what is most impressive is his voice. It is original and has a captivating quality that really keeps your attention.”
- Jamie Funk, IndieMusicAlbumReviews.com

“Gil Hockman is back!…And while the familiar elements are there, it really seems like new ground is reached”
- Floris Groenewald, SA Music Scene

Too Early In The Journey

“Definitely the most surprising of South Africa’s releases back in early 2012…It stood out from everything else.”
- Nas Who, Another Day

“A well-considered collection of Gil’s influences with dabbles of his own brilliance.”
-Scott Smith, The New Age

“Go track this down if you want something very different and truly special.”
- Coup Magazine

“The album unveils as a kind of demented songbook…Hockman makes these classics his own sad creatures.”
- Muse Magazine