Jadj is the debut album from Gary. Originally released in 2006, Jadj is an inspiring rollercoaster of audio wonders ranging from the beautiful and relaxing ‘R.E.W.’ through the summery ‘Mr and Mrs Absalom’ with its gentle nod to reggae, all the way to the screaming funk rock of ‘Kintu’s Mistake’ or ‘Subtle’. Along the way there are also glimpses of cool jazz and contemporary classical.
Soundtrack To Breathing (2013)
Gary’s 2013 release showcases his diverse compositional palette as he moves away from the jazz/rock/funk of Jadj into calmer waters.
Soundtrack To Breathing comprises five extended, ethereal compositions in a minimalist style, ideal for accompanying meditation, relaxation or other calming activities as well as being engaging works in their own right.
Restrop Wood (2015)
Gary Bamford’s third album sees him return to the contemporary jazz style of much of his debut Jadj album (co-produced with Jim Barr of Portishead, Get The Blessing etc.). On Restrop Wood (co-produced with Barr’s stablemate Jeff Spencer of Crocodile, Bristol Composers Collective etc.), he is reunited with tenor saxophonist and keyboard player Ruth Hammond. Largely reflective in mood, melancholic at times, many of the tracks are enhanced with samples and effects, but the emphasis remains throughout on composition, improvisation and symbiosis. The double disc CD features some beautiful artwork (by Gary and regular co-designer Ian Taylor) and also contains an extended final track.
An Account Of A Savage (2017)
Gary Bamford’s fourth release is a slightly edited version of his soundtrack to the Wrong Shoes Theatre Company’s devised piece An Account Of A Savage, which tells the story of a feral child’s experiences when she is found and ‘studied’ by two doctors. Stylistically, it ranges from dark, loop/delay-based soundscapes, through evocative melodic lullabies, to guitar-based, chaotic rock. An Account Of A Savage was performed, recorded, mixed and edited by Gary, with mastering by Gary and Stuart Rowe (Andy Partridge/XTC, The Future Sound Of London/Amorphous Androgynous, Shriekback, Paul Weller, Peter Blegvad etc.) of Lighterthief Studios.
God, Love And Other Myths (2017)
The fifth album from Gary Bamford is a trio affair, featuring Gary on keyboards, with long time friend and collaborator Rob Brian (Peter Gabriel, Goldfrapp, Jason Rebello, Simple Minds, Siouxsie Sioux, Michel Polnareff, Jim Mullen, Andy Partridge, Hugh Cornwell, Modern English, Innes Sibun) on drums, and new friend and pedals wizard Al Swainger (Pointless Beauty, Digby Fairweather, Snow Giants, Grice, The Art Trip, Annika Skoogh Quartet, Paul Jones, P.P. Arnold) on basses. In keeping with Gary’s previous four releases, the material is original, and in keeping with Gary’s usual form, the album bears little resemblance in style to his previous one. God, Love and Myths is largely groove based and was almost entirely recorded live, with a few edits here and there, and some necessary overdubs. There are elements of jazz, jazz-funk, funk-rock, free jazz, and drum and bass, and although keys/drums/bass are at the core of this record, fans of electronica and fat synth bass lines won’t come away disappointed.
The Unbinding (2018)
Gary Bamford’s 6th album is an edited, remixed and remastered version of the soundtrack to The Unbinding, his second collaboration with Wrong Shoes Theatre Company. The piece (devised from historical accounts of witches from Wiltshire and further afield) tells the story of four women accused of witchcraft, locked together in a church basement, awaiting their sentence. The score, largely featuring string quintet, centres around the four characters’ themes, which appear in various guises, intensities, layers etc.. Expect a 1970s horror soundtrack with 21st century sensibilities and occasional nods to jazz, Brian Eno and Tom Waits.
“My third collaboration with Wrong Shoes Theatre has been just as rewarding as the previous two and led me down further new paths.
For my first foray into immersive theatre, my remit was to marry ’70s synths with a touch of cult.
Points of reference have included soundtracks to Logan’s Run, A Clockwork Orange, Maniac and Legion, and artists such as The Chemical Brothers, Bjork, Radiohead and Snarky Puppy.
During the process I also found myself listening to scientology information films, Balinese trance dance music, the sounds of the planets and becoming particularly anal about alarms.
I hope you enjoy listening to this album as much as I did making it.”
The Year That Wasn't (2021)
“The Year That Wasn’t is a collection of soundscapes as songs, instrumentals that take all manner of forms, from drifting ambient beauty to upbeat electronic grooves, from futuristic, glitchy pop to more traditional classical grace. There is even room to squeeze in a bit of bombastic electro-rock. Songs such as If You Hadn’t Been Here build tones and textures out of only the most transient of keyboard sounds saying as much in the atmospheres between the notes as from the plaintive playing itself. At the other extreme, the wonderfully named Meh is a blast of retro-futurism scattered with oriental cascades and blistering guitars.”
– Dave Franklin, Dancing About Architecture 3/6/21
“I met Harrie through our mutual connection with Wrong Shoes Theatre Company: she is a trustee and has performed with them; I’ve composed the soundtracks for their last three shows.
Unknown to me, Harrie had spent much of 2020/21 listening to my music while painting, and when she was invited to exhibit her work at Mams Gallery in the summer of 2021 she suggested we join forces. Not only was I flattered and touched that she had found inspiration in my work, I was excited about the prospect of working with her, having been a fan of her artwork for some time.
I curated a playlist of my recordings for Harrie’s ‘Antidote’ exhibition at Mams and we performed a series of improvised sets, during which we simultaneously created; Harrie at her easel, myself with keyboards, guitar and pedals.
Over the following weeks and months, having recorded the performances on my phone, I recreated, edited and enhanced five of the improvisations, while Harrie put finishing touches to the paintings that had originated from those performances.
The results are what you see and hear on these CDs – five paintings, accompanied by the music that was created at the same time (or vice versa), in symbiosis.
The bonus track: ‘Obstructions’ is the soundscape to one of the spaces in the SYMBIOSIS exhibition. It represents the creative, physical, emotional and psychological barriers that can prevent or delay us from achieving our ideal goals.”
– GB, August 2022
The Beat Monkeys Demos EP (2020)
These rehearsal sessions were originally recorded by Merv Carswell at NC Studios, Swindon, UK, between April and July 2004.
He then mixed and mastered them, out of the kindness of his heart.
The original files were then lost sometime during the next year or two and the masters lay dormant on a dusty shelf.
Five years later, Gary performed some minor surgery on one of the tracks and remastered all five, but still they didn’t see the light of day.
Now, however, thanks to Gary getting his shit together and the mastering skills of audio magician Stu Rowe, The Beat Monkeys Demos are finally deemed fit for human consumption and offered here, for you, dear listener.
The Imminent Assassination of President Donald J. Trump (2017)
“The Imminent Assassination of President Donald J. Trump” is Gary’s first download-only, non-album release, and is the first produced solely by him. It draws on many aspects of his various writing styles (scored string orchestra, experimental synths, dark piano harmonies, delay effects, improvisation) and was inspired, amongst other things, by his deep concern over the rising global tide of right wing political parties.minutes.
The Final Christmas (2018)
Dedicated to anyone that, around the ‘festive’ season, wishes Christmas would just hurry up and do one. Proceeds from sales of this track will be donated to MIND, the mental health charity in England and Wales.
Primary influences – Frédéric Chopin, Cole Porter, Tom Waits, Ben Folds Five, Sigur Rós.
Thanks to Stu Rowe.
Gear – Logic, Kontakt, Fender, Roland, Slatter, Akai, Sennheiser, iMac, Focal.
In Remembrance Of My Father (2019)
“Based on an improvisation originally recorded on what would have been my dad’s 75th birthday, In Remembrance Of My Father is essentially a composition for three electric guitars, embellished with cello trio, piano, organ and synths. I firstly recorded the chordal guitar improvisation, followed by the 2nd and 3rd guitars, with piano doubling some lines. The cellos and organ contribute a more sustained, significant accompaniment, and the synth led coda was the final section to be completed. Although it’s approaching twenty years since he died unexpectedly, I think about Dad every day and miss him terribly, particularly his guidance, integrity and humour.”
How's Your Conscience? (2019)
Instrumental alt rock; part laden with heavy guitar/synth bass riffs, Bonhamesque drums and mellotron strings; part Stewart Copeland joins Radiohead.
Dedicated to any person that is suffering, or has suffered, as a result of doing the right thing, be it in their private, professional, creative, or political life. Keep fighting the good fight, as it’s you who will sleep soundest at the end of the journey.
Proceeds from sales of this track will be donated to MIND, the mental health charity in England and Wales.
What Remains Of Us (2020)
It’s scored for all the instruments he plays (electric and acoustic guitar, tenor and bass trombone, bass guitar, piano and trumpet), plus a couple he doesn’t (but could, I’m sure, if he turned his hand to it).
The piece is structured around the number 21 and incorporates melodic and harmonic motifs from other pieces I’ve written for him and other members of his family over the years, including one of the family cats.”
Cold (extended version) (2020)
I thought I sounded a bit like Tom Waits when I had a cold.
I wrote a song about thinking I sounded a bit like Tom Waits when I had a cold.
I recorded the song about thinking I sounded a bit like Tom Waits when I had a cold.
Then, I wrote some more words for the song about thinking I sounded a bit like Tom Waits when I had a cold.
I recorded the song with more words about thinking I sounded a bit like Tom Waits when I had a cold.
This is the recording of the song with more words about thinking I sounded a bit like Tom Waits when I had a cold.”