BRADBURY, GARRY - Panspermia

"Garry Bradbury is widely considered one of Australia's pioneers of electronic music. From 1980 to 1985, Bradbury was a member of the seminal electronic post-punk project Severed Heads alongside Tom Ellard, Richard Fielding, and others. The group released a series of seminal albums, including Blubberknife (1982), Since the Accident (1983), City Slab Horror (1985), and the retrospective Clifford Darling, Please Don't Live in the Past (1985). These works were characterized by dynamic integration of experimental musical practices, such as tape manipulations, cut-ups, and the use of found sounds, with more conventional musical forms containing recognizable beats and melodies. Bradbury also directed and designed, with various collaborators, three Severed Heads videos, for the tracks "Goodbye Tonsils," "Canine," and "Big Car." In 1988 he released his first solo album, Drug Induced Sex Rituals (titled for a young American audience). In 1992, with Jason Gee, he formed the band Size. They played live, drank beer, and smoked copious cigarettes throughout the '90s and eventually released the album Actual Size in 1997. Bradbury followed this with two solo CDs -- Ruffini Corpuscle (2003) and Instant Oblivion (2005) -- released on Dual Plover, a notorious label that specialized in "smashing windows of opportunity." Throughout this time he also worked extensively in theater, providing soundtracks for works ranging from experimental movement theatre -- most notably Burn Sonata, featured at the 1998 Adelaide Festival -- to the Sydney Theatre Company's productions of Shakespeare. His soundtrack for Macbeth (2002) is particularly infamous for its relentless, nightmarish brutality, consisting as it did, for the most part, of samples of pinball machines. Panspermia, also available as part of the expansive 80's Minimal.Synth.Wave: Volume III box set (VOD 138LP), is an assemblage of remastered and re-edited works by Bradbury, recorded sporadically from 1986 to 2005. It's released in advance of Bradbury's 2015 album Yakovlevian Torque." - Vinyl-On-Demand.
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After nearly a decade of false starts, multiple game plans veering off the rails, and a handful of shattered hopes and/or dreams, the odyssey is finally complete—the new Fusetron site is here.

This is the first phase of a multipart rollout that will span the next few months: the currently browsable stock includes miscellaneous new releases from the past 8+ months (we have a lot of catching up to do), plus approximately a third of our backstock. Note that we’ve reduced/slashed prices on many titles and will continue to do so in order to make room for new stock. We’ll also be expanding / tweaking / improving / debugging the site itself (for example, we still have work to do on the automated international postage system, not to mention the inevitable inventory discrepancies that come with transferring an ancient and massive database to a new system).

Over the next few months, as we take inventory, clean house, and delve into our storage, we will be uploading thousands of additional items, gradually, on a near-daily basis. This will include the majority of the LPs, as well as many titles, in all formats, once thought long-gone. Many currently “sold out” items are likely to resurface.

Finally, once our general backstock is up (probably in the next two or three months) we’ll begin making our extensive stockpile of rarities available online for the first time: tons of random out-of-print titles, "deadstock," warehouse finds, secondhand collectibles, etc., accumulated over the past few decades.

Frequent/returning customers will be getting early access to these items. Details to follow on how this will work (a priority mailing list? a 'frequent flyer'-like program?), but it will not be based on dollars spent. We want to reward those who consistently support us, especially in the discogs marketplace era (to those who show up trying to poach five copies of a one-off rarity, and nothing else, ever… ¯\_(ツ)_/¯ ).

So—we suggest you take some time to dig through the site—even we’ve been surprised by what’s been turning up, and there’s much more to come.
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