press to play Mary Buisnesscard Foot is Back, from Instant Obvilian.
Yes, now then, good, I’m sure it won’t be long now! Your lost mindlessly in the psychedelic vortex of the highly audiogenic Gary Bradbury. Sydney Australia’s favourite chronically depressed, long term ‘unemployed’, alcoholic, asthmatic, homosexual electronic music pioneer. A man who’s just spent the waking half of the last two years concocting this, his third collection of solo works titled ‘INSTANT OBLIVION’ between copius amounts of drinks and bouts with day time television. An album filled with, as he likes to put it ‘colour and generosity’. But what the hell would he know after listening to it so many times that he can’t even comprehend what he’s done.
What he’s done is this! Instead of whacking a bunch of staple samples into some shitty looping machine before waiting for the files to render, he’s engaged his startled imagination over a steaming combination of dead sounds in such a way as to make them seam alive, organic. Electronic music like this can only come from a man with a 1/4 of a century’s experience in this so called new medium.
If his previous effort the lauded "RUFFINI CORPUSCLE" was a plumb designed to measure the depths of a luscious aural abyss. This album is the measurement discovered by its predecessors journey delving deep into exquisite musical epiphany. Just say the first thing that pops into your mind?
BRADBURY : INSTANT OBVILIAN : CD (2005)
Sydney Australia's favourite chronically depressed, long term unemployed, alcoholic, asthmatic, homosexual electronic music pioneer. A man who's just spent the waking half of the last two years concocting this, his third collection of solo works titled 'INSTANT OBLIVION' between copious amounts of drinks and bouts with day time television. If his previous effort the lauded "RUFFINI CORPUSCLE" was a plumb designed to measure the depths of a luscious aural abyss. This album is the measurement discovered by its predecessors journey delving deep into exquisite musical epiphany.
"On his second solo disc, Garry Bradbury (ex-Severed Heads) plots and dices twelve therapeutic electronic pieces which range from oddly humourous flirtations with synthetic textures and hard rhythmalism to open, extended ambient stretches that loom and hang in otherwordly statis. Poppy highlight 'Nymphs + Shepards' pairs a sprightly, muted ostinato with gorgeously lagged high-end melodies decorating its minimal click-hop drum-track like pinpricks. That is, until a phat drum thump and anthememic counterpoint synth chorus demonstrate that Bradbury is a master sonic bricklayer who has the ins and outs of tension and release down pat. We have dialogue snatches from A Clockwork Orange, we have the exquisite, glacial delicacy of 'Cheap Wagnerian Dynamics' and we have the entirely vocal chop-fest that is 'Gob', featuring all the crisp and invasive delights of authentic Bradbury grunts, splutters abd wet apple-chomps. If you want it, here it is - come and get it." - Adrian Trajstman, Mess + Noise
"Gary Bradbury knows what it's like to be cumulatively disadvantaged. He's a homosexual, chronic depressive, asthmatic, unemployed Australian young man and he's an artist on top of that. But what matters is this superb little CD here. It's the result of two people, Bradbury, who handles electronics and does something with a "sundry" object, and a fella named Sweden who plays guitar. This is psychedelic electronic music that might as well accompany a film; one track for example is as if it were composed by Michael Nyman, and then there'sone that I can imagine with a brutal psycho-horror. It's awesome. -DJ Csühes(translated from hungarian by adam csenger) http://www.manamana.hu/kritika/kritika.html (section April 2006).
“Bradbury is a master sonic bricklayer who has the ins and outs of tension and release down pat” – Mess + Noise Magazine.
SISTER GWEN MCKAY : HANDJOB : CD (2004)
Straight from the corpus christie catholic college at camperdown, Sister gwen and friends never fail to fascinate and entertain with their barrage of questions to radio talkshow host and all round barroom intellectual peter hand. Learn the mystery of the word whoompah and the origin of the word bloouse through Nigels constant struggle with the English language.Be entertained by gwens theories on poetry and gang warfare, Discover the joy of cooking with pea water and how good it is for your digestive tract. And see why tony durham (judiths father) never made it with the seekers and why he is so proud of his famous daughter. calls by swden with a little help from bradbury and bolt.
“it doesn’t matter how many times you hear it, it doesn’t get any easier to cope with.” – INPRESS MAGAZINE.
BRADBURY : RUFFINI CORPUSCLE : CDR
Molecular glam is how gary bradbury (ex severed heads) describes
his first solo album in 14 years RUFFINI CORPUSCLE. this eclectic selection
of works, amassed over the past three years, incorporates a wide range of
creative strategies and techniques including: customised pianola rolls (Never
the Less), randomised digital cut-ups (The Boulevard of Broken Arms), dismembered
vinyl (Sinistrogyric Mobius Disc) and analogue synthesis (Big Man On Campus,
Speaker, Filmore Honey). Intensely melodic, full of rhythmic and textural
detail, this collection presents the culmination of his recent extensive
sonic explorations. (remixed album Corpuscle Plus also available as CDR or download)
"Since 1979 Sydney based Gary Bradbury has been producing strange and abstract electronic based music. As part of the duo Severed Heads with Tom Ellard, he produced works that have appeared on labels as diverse as Ink Records, Network and Virgin Australia. In recent times he has concentrated on producing theatre soundtracks (2001 King Lear) and his solo material. Ruffini Corpuscle, adorned with his unique collage style artwork is an example of the strange, diverse and intriguing roads he has travelled over the last few years. Whilst initially quite challenging, the compositional care taken to structure the works remains a unifying theme. Utilising gentle melancholic drones (distant Elk), glitched up digital scraps of static (Filmore Honey), strange childlike melodies and repetitive vocal samples (Big Man on Campus), Ruffini Corpuscle is quite a personal journey that regularly shifts his focus and repeatedly tests out new sonic theories. Bradbury has the rare double, not only is he meticulous in his execution, but he's been able to produce not one but fourteen new atmospheric worlds, where the laws of nature no longer exist, but chaos is kept at bay by Bradbury's odd and innovative logic". - Bob Baker Fish (inpress magazine)
"TWICE SHRILL AND COLOURFUL IN A STYLISH COLLAGE-CARDBOARD COVER FROM THE DUAL PLOVER LABEL, WHICH HAS, OVER THE YEARS, SECURED ITSELF A SOLID PLACE FAR AWAY FROM THE AUSTRALIAN MAINSTREAM. WITH REMARKABLE VIGOROUSNESS THE HOUSE OF DUAL PLOVER HAS PUBLISHED 100% UNCOMPROMISING MUSIC AND ATTATCH GREAT IMPORTANCE TO EXTREME KINDS OF REPRESENTATION, I COULD SEE FOR MYSELF ALSO HOW IT IS SHOWN THROUGH THE QUICK-TIME VIDEOS FROM THE VERY IMPRESSIVE SWEDEN CD. THE TIGER FUR-TROUSERS MUST GIVE WAY IN FAVOUR OF ENTIRE NAKEDNESS TO REACH THE DESIRED EFFECT. IT QUICKLY BECOMES CLEAR THAT THE TOPIC IS NOW MORE A PERFORMANCE ART IN THE SENSE OF A "CRAZY FREAK-SHOW" THAN THE SIMPLE CREATION OF CONSUMABLE MUSIC. SWEDEN ARE NEAR TO THE CIRCUS PERFOMANCE SIDE AND PLAY FULL OF PASSION IN POP SONG COVERS WHICH ARE VERY BRUTALLY DESTROYED THROUGH SYNTHESIZER "NOISE" AND SCREAMING THAT ONE WOULD LIKE TO REDEFINE THE WORD: DE-CONSTRUCTIVISM. THE QUESTION IS:" WHERE IS THE SENSE OF IT ALL?" BUT YOU HAVE TO BE CLEAR ABOUT THIS, THAT THE PEOPLE THE PEOPLE AROUND LUCAS WILL BREAK OUT IN RINGING LAUGHTER AND SCREAM AT THE THE TOP OF THEIR VOICE " NONSENSE !" IF YOU WOULD ASK THEM. BUT IT IS NOT SO EASY. I EVEN MAINTAIN THAT ONE MAKES A BIG MISTAKE IF ONE DISMISSES ALL THIS AS "CRAZY" BULLSHIT. ENTER, STAGE RIGHT GARY BRADBURY WITH HIS CD:" RUFFINI CORPUSCLE", ABOUT WHICH, I'M REALLY ENTHUSIASTIC. THIS MAN WAS WITH " THE SEVERED HEADS" AND ONE CAN CALL HIM, WITHOUT EXAGERRATION AN ELECTRONIC PIONEER FROM THE GOLDEN TIMES OF BRIAN ENO. THE RECORDING SOUNDS AS IF IT CALLS US DIRECTLY FROM THE 80'S. IT WAS PROBABLY CONSTRUCTED OUT OF SYNTHESIZER AND SAMPLER WHERE EACH HAS THE SIZE OF A HALF SEMI-DETATCHED HOUSE AND A COMPOSED CERTAINTY IS SHINING FROM IT WHICH MAKES YOU SUDDENLY STOP AND MAKES YOU LISTEN. HE WORKED A LONG TIME ON THIS; EVERY NOISE HAS IT'S LEGITIMACY AND IT'S VALUE AND THE END RESULT COMBINES ATTRIBUTES WHICH CAN'T BE MORE CONTRASTING: DESTRUCTIVE, (REALLY) BRUTAL, BROKEN, RUDE AND WITH THE SAME BREATH, SENSITIVE, PLEASANT, (REALLY) IDEALISTIC AND CHARMING. OUTSTANDINGLY BALANCED, LAVISH MUSIC WITHOUT ACADEMIC BALLAST, BUT WITH HUMOUR".- HINDERLANDT
"Collages of electronics, child-like melodies
and found sounds. A mix between the plunderphonics of People Like Us and heavy
noisy electronics. As a member of Australia’s Severed Heads, Garry Bradbury
has been making electronic music since the late 70’s. He must have been
the member who gave the group it’s creepy eerie experimental side. Original,
beautiful and eerie stuff. I love every track on here. Highly Recommended.
"Gary Bradbury can rightly be considered to be one of
Australia’s critical early forces in the development of electronic music
in this country, having first emerged together with Tom Ellard as half of the
much revered and internationally acclaimed outfit Severed Heads. At the time
of Bradbury’s peak involvement with Severed Heads’, he contributed
in the studio to sessions that became 1983’s jumbled freeform noise laden
tape collage ‘Since The Accident’ and the starker synth driven sounds
of 1985’s ‘City Slab Horror.’
SWEDEN : SAME DIFF: CDR
If you have been disappointed by dualplovers output in the past, please consider the earsplitting audio autopsy of 'sweden' on his debut lp 'same diff', featuring living legend WINNER front man SWEDEN on vocals and second hand records, accompanied on electronics and treatments by Garry Bradbury plus special guests the inmates of Fanny Deacon's Retirement Home on percussion. It's like karaoke without the practice rooms, a cabaret noise style re-enactment of cataclysmic musical moments from the 60's and 70's performed with all the skill of a young council official. starting with the sinister opening bars of White Rabbit to the orgasmic climax of Macarthur Park.
SIZE : ACTUAL SIZE: CD : ZONAR : CD
Formed in 1993 after a long drunken week of listening to old T.Rex records, Size serves as a conduit for Jason & Garry's otherwise unintelligible ramblings. These musical proctologists delve the bargain bin of the collective subconscious, to bring you hitherto unrealisable audio effluvia. Jason Gee's background of exploding fast food outlets and flat whites makes him particularly adept at smoking cigarettes. Garry Bradbury's repour with remote control apparatus and real estate agents gives him the insight necessary to mix complex musical metaphors.
BRADBURY : Drug Induced Sex Rituals : 1991
This CDR was originally scheduled to be released on the Cosmic Conspiracy label c. 1990-92, as Dog of the Week by Hurl, but that release did not take place., so was self released on CDR instead.
"As I'd mentioned in my prior post of Bradbury fare, the pinprick precise and giddily warped electropop-into-electronica constructs that this criminally overlooked Severed Heads founding member enacts on his solo efforts hew far tighter to their exalted original template than any of their other alumni have seen fit to muster in the intervening years, and here on his solo debut, the rivet spitting beat programming, surgical applications of pungent sound byte snarkery and candy coated but subtly perverted way with a melody are (as they were on his previously posted Ruffini Corpuscle/Corpuscle Plus two-fer) remorselessly raked across beds of gnashingly sawtoothed signal proceesing, while still managing to remain swaddled in the druggily melted synth goodness that any true Severed Heads devotee will want to roll around naked in. Just...ummm....not with the ape...." - mutant-sounds
SEVERED HEADS : Blubberknife : 1985
Blubberknife captures a period of live performance throughout 1981 to 1982, as Bradbury became increasingly involved in the sound. The group became very active and honed a style that could be performed in the pubs and clubs around Sydney - and one violent outburst in Melbourne. Knuckey occasionally joined on lead guitar later in the piece. Jones started to help out on video.
Still using tapes and tapeloops (the Rocket Summer performance is the original live tapeloop show) but with an increasing interest in a deformed electronic pop music as in Umbrella - Sevs at this point started to move out of the bedroom and be seen as a viable entertainment. Blubberknife is in many ways a live album, with the good and bad that goes with that.
SEVERED HEADS : Clifford Darling Please Don't Live In The Past. : 1985
What a funny thing - our label decided we needed to release a retrospective in 1986. After all, the band was going to disappear soon after right? So we dragged out bits that we had lying around from 1979 up til 1984 and crammed them into a montage over 4 sides of vinyl. Bradbury and Ellard would fuss each bit and sling it on our wonderful new digital recorder, although back then they still had to cut the records from tape.
Thing is, we still have the digital recorder, so this CD is made directly from the bits assembled twenty years ago. That's kind of cyrogenic don't you think? This album has lots of bits, live bits, studio bits, bits that appear on other CDs here. It's a trip, as the kids say.
SEVERED HEADS : SINCE THE ACCIDENT : 1983
Since The Accident grew from live performances in 1982-83 by Bradbury and Ellard, following directly those on the Blubberknife C90. Some of the tracks e.g. A Million Angels and Deaf Mutes are based on live backing tapes with melodic parts added in 1983 with Bradbury revisiting for the mixdown. Others such as Dead Eyes Opened and Gashing The Old Mae West were added by Ellard during a solo period following Bradbury's departure.
The album also follows technically from Blubberknife - 8 track recordings with 5 tracks being bounced down to make a stereo bed (keeping 1 for a sync pulse) and a further 5 tracks being added. However by this time we were more adept at multitrack technique.
Although planned as vinyl, the album was originally offered as a c60 cassette in a clipboard. Dead Eyes Opened and Wasps were added to flesh out the duration. The cassette also included Alaskan Polar Bear Heater. When licensed by Ink/Virgin, the latter was dropped.
This is often cited as an influential album of the period, mostly due to the wide range of styles on the LP, which reflect the tumult in its inception.
Theatre works, 2003, pneuma recordings