Garry Bradbury

Garry Bradbury is an English born electronic musician active in Sydney's experimental music scene since 1979. His first significant collaboration was in 1980, along with brothers Simon and Tim Knuckey as The Wet Taxis; a band specializing in heavily treated guitar and drum machine and various tape manipulations. The sound was uncompromisingly psychedelic yet fiercely industrial.

Next, in 1981, Bradbury teamed up with 2 other (synonymously; Tokyo Rose and Montgomery Smythe) to form Hiroshima Chair an even more brutal electronic outfit featuring a vast arsenal of analogue synthesizers. In 1981, they released half a split album "Reset", with the legendary Texan band Culturecide. They also released a live C60 cassette through Terse tapes.

From October 1981, Bradbury teamed up with Tom Ellard's pioneering post punk / industrial band Severed Heads . This collaboration continued sporadically from 1981 to 1985. This resulted in several albums/eps on vinyl and cassette, most notably; Blubberknife (1982) https://severedheads.bandcamp.com/album/blubberknife, Since the Accident (1983-5) https://severedheads.bandcamp.com/album/since-the-accident, City Slab Horror (1985) https://severedheads.bandcamp.com/album/city-slab-horror , Goodbye Tonsils (1985) and a compilation/retrospective Clifford Darling, Please Don't live in the Past (1986) https://severedheads.bandcamp.com/album/clifford-darling-please-dont-live-in-the-past Bradbury also directed and designed, with assistance and collaborative input from numerous others, several of the early infamous Severed Heads' independently produced videos; Goodbye Tonsils , Canine https://vimeo.com/channels/severedheads/39524529 and Bigcar https://vimeo.com/channels/severedheads/39524529 .

Generally speaking, Bradbury's work has always been typified by an extremely intense, often tortured, electronically generated sound; a sound that could be simultaneously beguilingly sweet and confrontingly intense. Though richly melodic his music is typified by crunchy, brutal rhythmic components and arrangements, found sound manipulation, utilizing both analogue tape and digital technologies. Eventually, he was to experiment with customized pianola scrolls.

In 1988 he completed his first solo album, Drug Induced Sex Rituals. https://bradbury.bandcamp.com/album/drug-induced-sex-rituals Its release was planned, abandoned, delayed repeatedly, for several years, until it saw an eventual CDr release through Sevcom in the 1990s.

During the 1997 a cd entitled Actual Size, the bulk of which consisted of Bradbury's solo material, was eventually issued first as a double CDr thru Sevcom and then as a single cd through Zonar Recordings. https://bradbury.bandcamp.com/album/actual-size Much of this material resurfaced on the later compilation PANSPERMIA. https://bradbury.bandcamp.com/album/panspermia-plus

Throughpout the early 2000s Bradbury was commissioned by the Sydney Theatre Company on scores for King Lear, The Tempest and Macbeth.[1]

Around that time he co-ordinated and curated the Static Museum series of performance evenings at Artspace , Woolloomooloo, Sydney.

In the 2000s he released two CDs Ruffini Corpuscle in 2003 https://bradbury.bandcamp.com/album/ruffini-corpuscle and Instant Oblivion in 2005 https://bradbury.bandcamp.com/album/instant-oblivion-or-beat-me-in-st-louis, on the Dual Plover label.

Garry Bradbury’s 2015 compilation, PANSPERMIA, consisting of 2 lp’s and a bonus one sided 7”,is an assemblage of remastered and re-edited works recorded sporadically over a period of around 20 years from 1986 to 2005, through the German based label Vinyl on Demand. Following this PANSPERMIA PLUS (a slightly more comprehensive version) was made publicly available as a free download thru the online download service bandcamp. https://bradbury.bandcamp.com/album/panspermia-plus

In 2016, a CD of new and reworked archival material was released under the title YAKOVLEVIAN TORQUE, made available as CD and/or download through No.Ware releases operating somewhere between Berlin and San Diego. https://no-ware.bandcamp.com/album/yakovlevian-torque Several of Bradbury's works also appear on the recent No-wares compilation No. No.II. (2016). A series of live performances throughout 2017 and 2018 revealed an intense, elaborately textural, less beat driven body of work that will culminate in new releases in late 2019.[2]<ref>http://www.4zzzfm.org.au/reviews/albums/garry-bradbury-yakovlevian-torque