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Bruce Clifford Gilbert (born 18 May 1946) is an English musician. One of the founding members of the influential and experimental art punk band Wire,[1] he branched out into electronic music, performance art, music production, and DJing during the band's extended periods of inactivity. He left Wire in 2004, and has since been focusing on solo work and collaborations with visual artists and fellow experimental musicians.

Education and early career

[edit]

Gilbert studied graphic design at Leicester Polytechnic until 1971; he then became an abstract painter,[2] taking on part-time jobs to help support himself.[3] In 1975, he was hired as an audio-visual aids technician and slide-photography librarian at Watford College of Art and Design.[3] Borrowing oscillators from the Science department, Gilbert started experimenting with tape loops and delays at the recording studio set up by his predecessor.[3] Together with Colin Newman and Angela Conway, who were students at Watford at the time, Gilbert formed a short-lived group called Overload.[3] Newman and Gilbert were joined by Graham Lewis and Robert Gotobed in the summer of 1976, and started practising and performing as Wire.[4]

Gilbert, who always considered Wire a living sculpture rather than a musical project,[5] fondly recalls early punk gigs as events where the audience, far from being mere consumers, became part of a shared dynamic experience: "I viewed it as a bit of a laboratory, not musically but culturally, because the people were experimenting with themselves: with their behaviour, their appearance and their clothes. Everything was up for grabs."[6]

Wire released three albums between 1976 and 1979, Pink Flag, Chairs Missing and 154, before temporarily disbanding after a show at London's Electric Ballroom at the start of 1980. At this time, Gilbert formed a series of bands/projects with Wire's bassist, Graham Lewis, including Cupol, Dome, P'o, and Duet Emmo.[1] Gilbert's collaborations with Lewis were experimental, featuring ambient music and found sounds.[7] Dome performed at art galleries with visual displays that allowed audience interactivity. Gilbert and Lewis performed with tubes made of paper over their heads, thus restricting their vision. Artist Russell Mills frequently collaborated with Dome.[8] In 1980, Gilbert and Lewis produced The The's debut single "Black & White/Controversial Subject" for 4AD, as well as the single "Drop/So" by A.C. Marias for their own Dome label.[9] Between 8 and 31 August 1981, Gilbert, Lewis, and Mills took over London's Waterloo Gallery and produced MZUI, an interactive audio-visual installation where visitors were encouraged to play a number of instruments created by the artists from objects found on the site.[10][11] The MZUI album, released by Cherry Red in May 1982, contains two untitled pieces based on recordings from the venue, finishing with the looped and distorted voice of Marcel Duchamp,[10][11] whom Gilbert considers a key influence.[12] Gilbert's experimental piece "Children", released in 1983 by Touch, features his parents talking about significant events from their childhood.[13]

Later career

[edit]

Between 1984 and 1991, Gilbert was commissioned to create music for a variety of film and modern dance projects,[7] by, among others, Michael Clark, Aletta Collins, and Ashley Page,[14] with excerpts appearing on his albums This Way (1984), The Shivering Man (1987) (both combined on CD as This Way to the Shivering Man), Insiding (1991) and Music for Fruit (1991).[7]

Wire re-entered the public arena on 7 June 1985 with a performance at the Museum of Modern Art, Oxford,[11][15] and Gilbert contributed sounds, lyrics, and occasional vocals to the various albums, EPs, and singles released by the band between November 1986 and February 1993.[12]

In 1989, Gilbert co-produced the A.C. Marias album One of Our Girls (Has Gone Missing), sharing author credits with Angela Conway for 10 original songs (the album also contains a cover version of Canned Heat's "Time Was", first released in 1988 as a single featuring Conway, Gilbert, Barry Adamson and Rowland S. Howard).[16]

Since the 1990s, Gilbert has appeared at London techno clubs under the name DJ Beekeeper, often deejaying inside a garden shed above the dancefloor.[7] He has been quoted saying that being a DJ was just an excuse to "manipulate other people's music"[17] – such projects include remixing "National Grid Pt 1 and 2" by the group Disinformation for their double CD Antiphony released on Ash International in 1997.[18]

In March 1996, he released Ab Ovo, his first solo album not to result from external dance or film commissions. It was described in The Wire as "a forceful piece of work which sounds like nothing else around."[19]

Wire reconvened in London for a one-off performance of "Drill" to celebrate Gilbert's 50th birthday in May 1996.[19] In January 2000, Gilbert teamed up once more with Graham Lewis, and the duo contributed the sound installation Alarm to the Audible Light exhibition at the Museum of Modern Art, Oxford.[20] Wire entered their third incarnation on 26 February 2000 with a performance at the Royal Festival Hall.[21] In 2002, Gilbert wrote and recorded the soundtrack for "London Orbital", a film by Chris Petit and Iain Sinclair based on Sinclair's psychogeographical exploration of the M25 motorway.[22] As part of the project, Gilbert and Wire performed live at the premiere of the film and Sinclair's book at the Barbican on 25 October 2002.[23] Gilbert left Wire in 2004, after the release of the Send album, pursuing solo projects and collaborations with visual and sound artists ever since.[24]

Gilbert's 2004 album Ordier is a collection of excerpts from a 1996 live performance.[25] 2006 saw him contribute to Susan Stenger's Soundtrack for an Exhibition within the eponymous project curated by Mathieu Coupland that brought together artists from the realms of music, fine art, and film at the Musée d'art contemporain de Lyon.[26] In 2009, Gilbert released Oblivio Agitatum, which he recorded entirely at home.[27] In a review for Brainwashed, music journalist Creaig Dunton concluded that "even with his long silence, Bruce Gilbert is still an expert at shaping mini dramas and landscapes out of the raw clay of electronic music."[28]

Revisiting his collaboration with Pan Sonic as IBM in 2001, Gilbert paired up with Mika Vainio in May 2011 at the Netaudio London festival for an exclusively commissioned live performance.[29] His 2011 recording, "Monad", was published by Touch as a vinyl-only 7-inch single on 8 August.[30][31]

In October 2011, Gilbert's short story "Sliding Off the World", first released as a spoken-word piece set to atmospheric noise on the CD Touch 25 in June 2006,[32] was published in the anthology Murmurations by Nicholas Royle (Two Ravens Press, ISBN 978-1-906120-59-7).[33]

Gilbert's latest release, Diluvial, was launched at Beaconsfield Art Works in London on 13 September 2013. A collaboration between Gilbert and BAW (sound and visual artists Naomi Siderfin and David Crawforth), Diluvial is a seven-piece reflection on climate change and creation stories.[34][35]

Selected discography

[edit]

with Wire

[edit]

See: Wire discography

with Cupol

[edit]
  • Like This For Ages EP (1980), 4AD

Gilbert and Lewis

[edit]
  • 3R4 mini-LP (1980), 4AD
  • "Ends with the Sea" (1980), 4AD

with Dome

[edit]
  • Dome 1 (1980), Dome Records
  • Dome 2 (1981), Dome Records
  • Dome 3 (1981), Dome Records
  • Will You Speak This Word (1982), Unition
  • Yclept (1999), WMO
Compilations & reissues

with A.C. Marias

[edit]
  • "Drop/So", single (1980), Dome Records
  • "Just Talk/No Talk", 12" single (1986), Mute
  • "Time Was/Some Thing", 12" single (1989), Mute
  • One of Our Girls (Has Gone Missing), album (1989), Mute
  • "One of Our Girls/Vicious", 12" single (1990), Mute

Gilbert, Lewis and Mills

[edit]
  • Mzui (Waterloo Gallery) (1982), Cherry Red
  • Pacific/Specific (1995), WMO

with Duet Emmo

[edit]
  • "Or So It Seems", single (1982), Mute
  • Or So It Seems, album (1983), Mute

with P'o

[edit]
  • Whilst Climbing Thieves Vie for Attention, album (1983), Court

Gilbert/Hampson/Kendall

[edit]

Orr, album (1996), Mute (Parallel Series)

with Iain Sinclair

[edit]

Downriver, CD (1998), King Mob[37]

Bruce Gilbert – Ron West

[edit]

"frequency variation", 12" single (1998), Sähkö Recordings

with rude mechanic

[edit]

rude mechanic, 2 x CD, (recorded 1996, released 1999), Piano[38][39]

gilbertpossstenger

[edit]

manchesterlondon, album (2000), WMO

with IBM

[edit]

The Oval Recording, album + 7" single (2001), Mego

with Souls on Board

[edit]

Souls on Board, cassette (2009), The Tapeworm[40]

with Meltaot

[edit]

Souls on Board, vinyl LP (2010), Ash International[41]

with BAW (Naomi Siderfin and David Crawforth)

[edit]

Diluvial, CD (2013) Touch Music[34][35]

Solo

[edit]

Albums

[edit]
  • To Speak (1983), Dome
  • This Way (1984), Mute
  • The Shivering Man (1987), Mute
  • Insiding (1991), Mute
  • Music for Fruit (1991), Mute
  • Ab Ovo (1996), Mute
  • In Esse (1997), Mute
  • The Haring (1997), WMO
  • Ordier (2004), Table of the Elements
  • Oblivio Agitatum (2009), Editions Mego
  • Ex Nihilo (2018), Editions Mego
Compilations & reissues
  • This Way to the Shivering Man (1987), Mute
  • Mesmer Variations, 2 x CD (1995), Ash International[42]
  • RRR 500, LP (1998), RRRecords[43]
  • Antitrade, CD (1999), Ash International[44]
  • Audible Light, CD (2000), Education and Exhibition Dept. at The Museum of Modern Art, Oxford.[45]
  • This Way (25th Anniversary Reissue) (2009), Editions Mego
  • The Shivering Man (Enhanced) (2011), Editions Mego

Singles

[edit]
  • "Instant Shed Vol. 1" (1995), Sub Pop
  • "Instant Shed Vol. 2" (1996), Ash International
  • "Monad" (2011), Touch

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Bruce Gilbert

View on Grokipedia
from Grokipedia
Bruce Clifford Gilbert (born 18 May 1946) is an English musician, best known as a founding member, , and songwriter of the influential and experimental band Wire. Born in , , Gilbert contributed significantly to Wire's innovative sound through his unconventional guitar techniques and lyrics during the band's periods of activity from 1976–1980 and 1985–1992, and its reformation in 1999, before departing in 2004. Throughout his career, Gilbert has pursued electronic music, , and sound installations, often employing tape loops, oscillators, and abstract recording methods to create filmic and experimental works. After Wire's initial disbandment, he co-founded the duo Dome with bandmate in 1980, releasing several albums of and industrial-inspired music from 1980 to 1984. Notable collaborations include the project Duet Emmo with Lewis and founder Daniel Miller in 1983, as well as solo releases such as the 1987 album This Way to the Shivering Man and commissions for and soundtracks. In addition to music production, Gilbert has worked as a at art schools, engaged in visual projects, and performed as DJ , blending his experimental ethos across multimedia disciplines. Gilbert continues to perform and collaborate on experimental projects as of 2025.

Early Life

Birth and Upbringing

Bruce Clifford Gilbert was born on 18 May 1946 in , , . Growing up in a household with musical elements, Gilbert recalled a formative childhood sitting beneath his mother's , where he pounded the low notes and felt intense ecstasy from the vibrations resonating through him. This incident highlighted an early sensory engagement with sound that went beyond conventional listening. From a young age, Gilbert owned an old reel-to-reel tape deck, which he used for hands-on experimentation with audio manipulation, such as recording and splicing multiple takes of Duane Eddy's instrumental track "The Theme from " using Sellotape to create edited versions. These solitary activities in his home fostered a budding interest in sound as a medium for creative play, distinct from formal . Such early hobbies laid the groundwork for his later explorations in auditory innovation, though he was not initially drawn to music as a primary pursuit.

Education and Early Work

Gilbert initially studied painting at St. Albans School of Art before pursuing formal education in at Leicester Polytechnic (now ), studying there from approximately 1967 to 1971. This training equipped him with skills in visual composition and abstraction, aligning with his burgeoning interest in artistic expression. Following his studies, Gilbert transitioned into working as an abstract painter, producing large-scale works in his flat while taking part-time jobs to support himself. In 1975, he secured a position as an audio-visual aids technician and slide-photography librarian at Watford College of Art and Design (now part of West Hertfordshire College). In this role, he managed technical resources, including a rudimentary sound studio assembled by his predecessor, which provided access to tape recorders, oscillators, and delay effects acquired or borrowed from college departments. These experiences in and audio technology profoundly shaped Gilbert's approach to experimental , fostering a where sound was treated as a malleable, abstract medium akin to visual forms. His technical proficiency with studio equipment allowed early experimentation with loops and generation, bridging his graphic design background's emphasis on structure and abstraction with innovative audio manipulation techniques. This foundation emphasized non-linear, process-oriented creation over conventional musical narratives.

Career with Wire

Formation and Early Albums

Wire formed in October 1976 in , initially coalescing around guitarist Bruce Gilbert, fellow guitarist George Gill, and vocalist-guitarist , who had met while working at College of Art. The lineup soon expanded to include bassist and drummer Robert Grey, solidifying the core quartet after Gill's departure shortly thereafter; this configuration marked Wire's emergence amid the burgeoning punk scene, where the band quickly distinguished itself through terse, angular song structures that blended raw aggression with conceptual edge. Gilbert, as a co-founder, contributed significantly to the group's guitar-driven sound from the outset, often employing minimalist techniques that emphasized tension and brevity over traditional rock elaboration. The band's debut album, , arrived in November 1977 via , capturing Wire's raw punk energy through 21 tracks averaging under three minutes each, a format that exemplified the punk ethos of immediacy while hinting at innovation. Gilbert's jagged, economical guitar lines provided the sonic backbone, propelling songs with propulsive riffs that avoided excess and focused on rhythmic propulsion, as heard in tracks that prioritized collective interplay over individual solos. Recorded in just a few days with producer , the album's stripped-down production amplified its urgency, positioning Wire as outliers in the punk landscape for their avoidance of and embrace of structural experimentation. Wire's follow-up, (1978), signaled a marked shift toward experimental , incorporating synthesizers, tape effects, and atmospheric layers that tempered the debut's ferocity with a cooler, more introspective tone influenced by ambient pioneers like . Gilbert played a pivotal role in this evolution, contributing guitar textures that wove through the album's "frosty atmospheres" and obscured vocals, while also co-writing lyrics that favored oblique, surreal imagery over direct narrative. The third album, 154 (1979), further deepened this trajectory, with Gilbert's "intravenous" guitar riffs and sound manipulations creating claustrophobic, layered soundscapes enriched by strings and percussion, alongside his lyrical input that evoked abstract, fatalistic themes. Throughout the late 1970s, Wire immersed themselves in the UK punk scene, debuting with performances at iconic venues like the Roxy in early 1977, where their economical sets—often limited to 20 minutes—challenged audiences with high-energy, no-frills delivery that bridged punk's DIY spirit and post-punk's avant-garde leanings. These live shows, marked by Gilbert's precise, noise-infused guitar work, helped propel the band from underground circuits to broader recognition, influencing the transition from punk's rawness to more textured post-punk forms. Gilbert's background in graphic design also subtly informed the visual identity of these early releases, as he collaborated with Lewis on conceptual artwork that mirrored the music's stark minimalism.

Mid-Career Developments and Reunions

Following their initial three-album run from 1977 to 1979, Wire disbanded in 1980 amid creative tensions and disputes with their record label , which had grown frustrated with the band's experimental direction and refusal to conform to commercial expectations. The split allowed members to pursue individual projects, but it marked the end of their early phase without a formal farewell tour or album. Wire reformed in 1985 with its original four members, driven by a desire to explore new sonic territories rather than revisit past material. Their comeback began with the EP Snakedrill in 1986, followed by the full-length The Ideal Copy in 1987 on , which introduced a more synth-driven, electronic pop aesthetic influenced by industrial and new wave elements, diverging sharply from their punk origins. This "year zero" approach emphasized abstraction and , with Gilbert's processed guitar tones providing angular, dissonant textures that underscored the album's innovative edge. Throughout the , Wire's activities slowed as they navigated lineup instability and a shifting music landscape. After releasing Manscape in 1990—a record blending electronic experimentation with rock structures—Gotobed departed, reducing the band to a trio that briefly rebranded as Wir. This period saw sporadic output, including the The Drill in 1991, but escalating creative differences and external pressures led to another hiatus by the mid-, during which the members focused on side endeavors. Gilbert's contributions remained central, with his guitar effects and co-written lyrics—often cryptic and conceptual—driving the band's evolution toward more abstract, rhythmically complex soundscapes that experimented with technology and deconstructed song forms. The band reconvened in 2002 with Gotobed's return, culminating in the 2003 album Send on their own Pinkflag label, which revitalized their sound through ferocious noise-rock elements, stiff beats, and industrial aggression, reflecting a renewed commitment to pushing boundaries. Gilbert's guitar work, emphasizing sonic manipulation over traditional riffing, was pivotal in tracks like "In the Art of Stopping Short," where his layered distortions created a tense, propulsive atmosphere. These reunions faced challenges, including internal debates over direction and the difficulty of maintaining cohesion amid past splits, yet Wire's mid-career phases solidified their influence on the , inspiring acts like and Franz Ferdinand with their relentless innovation and rejection of .

Departure in 2004

In 2004, following the release of Wire's album Send, founding guitarist Bruce Gilbert announced his departure from the band to focus on solo endeavors and collaborative experimental projects. This exit marked the end of his involvement in Wire's studio recordings after nearly three decades of intermittent activity, including reunions in the late and . Gilbert cited exhaustion from extensive touring as a primary factor, describing festival schedules as particularly grueling: “I got very fed up with touring and just needed a rest. Things like festivals were a nightmare in the end. We would turn up in the morning for a sound check and then have to stooge around until midnight or even later until we got on stage.” Creative differences also played a role, with Gilbert seeking greater freedom for avant-garde and dance-oriented explorations that he felt were constrained by the band's evolving structure during their post-reunion phase. Bandmate later reflected on the split, stating that Wire was “fatally, fatally injured” by Gilbert's departure, highlighting the initial disruption to the group's dynamic and creative process. For Gilbert, the move facilitated a shift toward independent work emphasizing experimental sound and elements, allowing him to pursue opportunities beyond Wire's collaborative framework. Wire, meanwhile, adapted by continuing as a trio, which influenced their subsequent trajectory toward a more streamlined sound.

Post-Wire Career

Key Collaborations

After departing Wire in 2004, Bruce Gilbert focused on solo work and collaborations with visual and sound artists, emphasizing experimental electronic and projects. In 2006, he contributed to the Soundtrack for an Exhibition alongside Susan Stenger for the Musée d’art contemporain de . This work integrated his sound design with visual installations, exploring ambient and site-specific compositions. Gilbert continued collaborating in 2011 with Finnish electronic musician (of ) for a live performance at the Netaudio in May. Their set highlighted improvised noise and drone elements, drawing on Gilbert's techniques. A notable partnership was with Beaconsfield Art Works () artists David Crawforth and Naomi Siderfin on Diluvial in 2011, addressing rising sea levels through site-specific soundscapes on the coast for the Faster Than . The project evolved into a gallery exhibition and was released as an album in 2013 on Touch Music. These efforts extended Gilbert's interest in environmental and immersive audio, blending field recordings with processed electronics.

DJing and Multimedia Projects

Gilbert's post-Wire multimedia practice incorporated sound into visual art, performance, and installations, often prioritizing spatial and interactive elements. In 2011, he released the vinyl-only 7-inch single "Monad" on Touch Music, featuring abstract electronic pieces. That October, Gilbert published the "Sliding Off the World" in the anthology Murmurations, venturing into experimental writing. His solo album Oblivio Agitatum, recorded entirely at home, was released in 2009 on Editions Mego, delving into noise and textures across three long-form pieces. In 2018, Ex Nihilo followed on the same label, further exploring minimalistic and abstract soundscapes. Through these projects, Gilbert maintained his experimental approach in interdisciplinary contexts, focusing on texture, environment, and non-traditional formats as of 2018.

Musical Style and Influences

Experimental Techniques

Bruce Gilbert's experimental techniques in sound manipulation often centered on subverting conventional instrumentation, particularly the guitar, which he treated less as a melodic tool and more as a generator of abstract textures and noises. In his work with Wire, Gilbert employed extended guitar techniques, such as placing a inside the body of a Spanish guitar to capture internal resonances, striking the instrument percussively, and processing the resulting sounds through inexpensive effects pedals to create dissonant, fragmented layers. This approach aligned with post-punk's embrace of noise and minimalism, where multiple rhythm guitars were layered to produce a "thick swarm" of clashing tones, emphasizing aggression and simplicity over virtuosic playing. For instance, on tracks like "Sand in My Joints," Gilbert's guitar was routed through a Synthi AKS synthesizer, fracturing the signal into synthetic, dissonant solos that blurred organic and electronic boundaries. Tape loops formed a foundational element of Gilbert's methodology, predating Wire and persisting through his solo and collaborative projects. Prior to forming , as an abstract painter, he experimented with reel-to-reel tape decks to loop and edit found , riffs, and noises, extending simple motifs—like a track—by splicing tape with for repetitive, hypnotic effects. In the Dome era with , these loops were refined using noise gates to generate percussive bursts from otherwise ambient material, often reworked from home recordings into spontaneous studio sessions that incorporated dub-style drop-ins and abrupt changes. This technique fostered an industrial aesthetic of mechanical lurching and minimal rhythmic pulses, as heard in Dome 3's grinding metallic loops in "AR-GU." Electronic processing evolved as a core practice, bridging Gilbert's punk roots with more abstracted forms. Early on, he utilized low-tech devices like preset foot-pedal machines, processed through amplifiers with EQ and reverb for distorted, hi-tech illusions from basic sources. In solo endeavors, such as the 1980s Michael Clark collaboration, sounds were manipulated via studio A.M.S. units to stretch and warp elements over extended periods. A notable example is the 1974 collaboration with Ron West on Frequency Variation, recorded at School of Art using two reel-to-reel tape recorders, generators borrowed from the science department, and primitive BBC-standard equipment; inspired by Eno's electronic music , it focused on frequency manipulation to create anti-rock abstractions through layered oscillations and tape-based variations. These methods differed in application: live settings emphasized accidental DJ-style mixing of non-rhythmic electronic fragments for dissonance, while studio work allowed precise editing for minimalist immersion. Over time, Gilbert's techniques shifted from the raw aggression of Wire's to ambient in later solo projects. Post-2004, works like reflected this evolution, drawing on academic electronic music's emphasis on unintended gestures and sparse samples to produce alienated, non-narrative soundscapes that prioritized sonic accident over punk's direct confrontation. This progression maintained core elements like tape manipulation and electronic filtering but leaned toward ethereal dissonance, as in collaborations where inputs were heavily processed to mutate into abstract fields.

Key Influences and Legacy

Bruce Gilbert's musical approach drew significantly from his background in , where he studied at Polytechnic until 1971 and later worked as an audio/visual aids technician at School of Art, informing his interdisciplinary experiments in sound and image. This artistic foundation intertwined with influences, including composers like , whose chance-based methods and techniques echoed in Gilbert's noise manipulations and abstract compositions. Emerging from the punk scene in late-1970s , Gilbert co-founded Wire amid the raw energy of innovators like the and , channeling punk's brevity and aggression into more conceptual structures. Gilbert's contributions to Wire and his solo endeavors profoundly shaped , experimental electronic, and , emphasizing sonic deconstruction and that prioritized texture over melody. Wire's terse, innovative songcraft directly influenced bands such as , whose guitar noise and art-rock leanings on albums like (1988) paid homage to Wire's angular riffs and experimental edge. Similarly, Radiohead has cited Wire as a key inspiration for their shift toward abstract, glitchy soundscapes on (2000) and beyond. Wire received widespread critical acclaim for pioneering art-punk's evolution, with retrospective honors including deluxe reissues and features in outlets like that hailed the band as "punk's ultimate cult act." Gilbert's solo Ex Nihilo (2018), released on Editions Mego, garnered praise for its haunting, interference-laden soundscapes, described as a "daring and dark audio ride through a contemporary haze" that extended his legacy in and drone. The work's murky fusion of trauma and electronics solidified his reputation among experimental listeners. In the 2020s, Gilbert's legacy persists through Wire's archival reissues, such as the 2021 edition of early 2000s material PF 456, which highlighted his textural contributions, and ongoing tributes in experimental scenes, including his participation in the September 2025 "30 Years Editions Mego" event.

Discography

Studio Albums

TitleYearLabelFormats
1977HarvestVinyl, CD
1978HarvestVinyl, CD
1541979HarvestVinyl, CD
The Ideal Copy1987MuteVinyl, CD
A Bell Is a Cup... Until It Is Struck1988MuteVinyl, CD
It's Beginning to and Back Again1989MuteVinyl, CD
Manscape1990MuteVinyl, CD
The Drill1991MuteVinyl, CD
Send2003PinkflagCD

Singles

TitleYearLabelFormats
Dot Dash1978Vinyl (7")
Outdoor Miner1978Vinyl (7")
I Am the Fly1978Vinyl (7")
Map Ref. 41°N 93°W1979Vinyl (7")
The 15th1979Vinyl (7")
Eardrum Buzz1988MuteVinyl (7", 12")
Kidney Bingos1988MuteVinyl (7", 12"), CD
In the Dread Milk1989MuteVinyl (7", 12")

EPs

TitleYearLabelFormats
1989MuteVinyl (12")

Compilations and Reissues

Key compilations and reissues from the Wire era featuring Gilbert's work include Coatings (1997, Mute), a collection of B-sides and rarities from 1987–1990, and the Wire: 1977–1979 (2004, ), remastering the first three albums with bonus live tracks. These releases highlight Gilbert's guitar and production roles in the band's early and mid-period output. Also included is Turns and (1996, WMO), a compilation of live recordings and rehearsal tapes.

Projects with Graham Lewis

Following the dissolution of Wire in 1980, Bruce Gilbert and formed the duo Dome, releasing a series of experimental albums that emphasized abstract soundscapes and studio manipulation. Their debut, Dome 1, was issued in July 1980 on their self-established Dome Records label as a vinyl LP, featuring tracks recorded at Blackwing Studios with engineering by . This was followed by Dome 2 in September 1981, also on Dome Records as a vinyl LP, continuing the duo's exploration of minimalist and industrial textures. Dome 3 appeared in October 1981 on the same label and format, incorporating more fragmented rhythms and vocal treatments. The final Dome studio album, Will You Speak This Word (also known as Dome IV), was released in 1982 on the Norwegian Uniton Records label as a vinyl LP, marking a shift toward denser, narrative-driven compositions. In 1999, the duo reconvened for Yclept, a limited-edition CD compilation on WMO Records that paired archival tracks from 1983–1989 with newly recorded pieces, serving as their concluding Dome release. Under the billing Gilbert and Lewis (sometimes stylized as B.C. Gilbert / G. Lewis), the pair issued 3R4 in November 1980 on as a vinyl LP, recorded at Blackwing Studios and characterized by its eschewal of traditional melody in favor of ambient noise structures. This was complemented by the single "Ends with the Sea," released in April 1981 on as a 7-inch vinyl, featuring a more structured yet abrasive arrangement with pointillist guitar elements. As Cupol, Gilbert and Lewis released the 12-inch single Like This for Ages in July 1980 on , comprising the title track and the extended "Kluba Cupol," which blended ethnic influences with urban experimentalism. The project Duet Emmo, involving Gilbert, Lewis, and founder Daniel Miller, produced the single "Or So It Seems" / "Don't Look Back" in 1982 on Mute as a 7-inch vinyl, followed by the full Or So It Seems in 1983 on the same label as a vinyl LP, integrating electronic synth elements with the duo's austere aesthetic. P'o, featuring Gilbert and Lewis alongside A.C. Marias and Peter Price, debuted with Whilst Climbing Thieves Vie for Attention in October 1983 on Court Records as a vinyl LP, incorporating new wave and percussion-driven pieces. Gilbert, Lewis, and visual artist Russell Mills collaborated on Mzui (Waterloo Gallery), an installation released in 1982 on Cherry Red as a vinyl LP, derived from an August 1981 audio-visual exhibit at London's Waterloo Gallery that treated sound as an evolving landscape. Their subsequent joint effort, Pacific/Specific (In a Different Place), emerged in November 1995 on WMO as a CD, compiling a 1980 Peel Session, an Australian radio piece, and additional improvisations focused on spatial audio dynamics.

Other Collaborations

Gilbert's collaborations outside of his work with Graham Lewis encompassed a range of experimental and projects, often blending electronic, ambient, and elements with visual or artists. One of his earliest non-Wire partnerships was with visual artist and vocalist Angela Conway under the moniker A.C. Marias, which produced several releases on Dome and . Their debut single "Drop / So" was issued as a 7" vinyl in 1981 on Dome Records (DOM451). This was followed by the 12" single "Just Talk / No Talk" in 1986 on Mute (12 MUTE 50). In 1988, they released the 12" "Time Was / Some Thing" on Mute (12 MUTE 70). The project's sole album, One of Our Girls (Has Gone Missing), appeared in 1989 as an LP on Mute (STUMM 68). Their final release, the 12" single "One of Our Girls (Has Gone Missing) / Vicious," came out in 1990 on Mute (12 MUTE 105). In 1996, Gilbert collaborated with Loop's Robert Hampson and engineer Paul Kendall on the album Orr, a CD released on Mute's Parallel Series imprint. The following year, he contributed to the audio adaptation of author Iain Sinclair's novel Downriver, released as a CD in 1998 on King Mob (KMOB 1), featuring spoken-word excerpts with Gilbert's sound design. A one-off archival project with Ron West, recorded in 1974 at Watford School of Art, surfaced as the 12" single "Frequency Variation" in 1998 on Sähkö Recordings. That same year, Gilbert participated in the multimedia event Rude Mechanic with Pan Sonic, Hayley Newman, and David Crawforth, documented on a limited 2xCD set released in 1999 on Piano (Piano 200). In 2000, Gilbert joined Band of Susans members Robert Poss and Susan Stenger for the album manchester&london (stylized as such), a CD blending live recordings and remixes issued on WMO (WMO 16CD). He then teamed with Ryoji Ikeda and Mika Vainio as IBM for The Oval Recording in 2001, comprising an LP and bonus 7" on Mego (MEGO 033/045). Later collaborations included the live recording Souls on Board with Souls on Board, initially released as a cassette in 2009 on The Tapeworm, and reissued as an LP in 2010 on Ash International (ASH 8.7LP) alongside Meltaot's contribution. Finally, in 2013, Gilbert worked with Beaconsfield ArtWorks (BAW) on the ambient album Diluvial, a CD on Touch (TO:87).

Solo Albums

Bruce Gilbert's solo output shifted toward experimental electronic compositions following his time with Wire, emphasizing abstract soundscapes and innovative production techniques. His solo , released primarily on Mute and later independent labels, include the following:
TitleYearLabelFormats
This Way1984MuteLP
The Shivering Man1987MuteLP
Insiding1991MuteCD
Music for Fruit1991MuteCD
1996MuteCD
In Esse1997MuteCD
The Haring1997WMOCD, Box Set (Limited)
Ordier2004Table of the ElementsCD
Oblivio Agitatum2009Editions MegoCD
Ex Nihilo2018Editions MegoCD
Major compilations and reissues of his solo material encompass combined editions and anniversary releases, often featuring remastering or additional content:
TitleYearLabelFormats
This Way to the Shivering Man1987MuteCD
Mesmer Variations1995Ash International2xCD (Various Artists, Gilbert contribution)
RRR 5001998RRRecordsLP (Various Artists, Gilbert contribution)
Antitrade1999Ash InternationalCD (Various Artists, Gilbert contribution)
Audible Light2000, CD (Exhibition compilation, Gilbert contribution)
This Way (25th Anniversary)2009Editions MegoCD (Reissue, Remastered)
The Shivering Man (Enhanced)2011Editions MegoCD (Reissue, Remastered, Enhanced)

Solo Singles

Bruce Gilbert's solo singles and EPs represent concise experimental forays, often issued in limited formats that highlight his interest in sonic abstraction and unconventional distribution. His early solo output includes the 1981 flexi-disc Cross, Grow, Prayer on Vanity Records, a single-sided 7" in clear vinyl limited to a small run for circles. In the mid-1990s, Gilbert released the Instant Shed Vol. 1 7" single on in 1995, capturing improvised elements on a RPM disc. This was followed by Instant Shed Vol. 2 in 1996 via Ash International, a single-sided 7" available in black and clear variants, noted for its rarity due to limited pressing. Also in 1996, the Ovo Mix 12" on Mute appeared as a limited-edition , remixing material from his concurrent album work into a standalone experimental track. Later releases include the 2000 7" single I Play All My Records Through The VacOrec Anti Static Discharge Cleaner / Radiator, Plane, Bang on Recordings, a split with emphasizing field recordings and device manipulations in a niche format. In 2011, Monad emerged on Touch as a 7" single, a meditative piece reflecting his ongoing touchstone label association and available in standard vinyl. These EPs and singles, often produced in small quantities, supplement Gilbert's broader solo by providing ephemeral, non-album insights into his sonic investigations.

References

  1. https://www.allmusic.com/artist/bruce-gilbert-mn0000939672
  2. http://www.pinkflag.com/bruce-gilbert.php
  3. https://www.discogs.com/artist/11323-Bruce-Gilbert
  4. https://www.cafeoto.co.uk/artists/bruce-gilbert/
  5. https://www.instagram.com/p/DPGzLjmjNvJ/
  6. https://www.muzines.co.uk/articles/totally-wired/3754
  7. https://library.oapen.org/bitstream/id/da0ffd56-082f-4a44-80a3-63039fc706fa/external_content.pdf
  8. https://wireviews.com/articles/i_bruce_gilbert_wmo_95.html
  9. https://trouserpress.com/reviews/wire/
  10. https://magnetmagazine.com/2017/09/25/magnet-classics-the-making-of-wires-pink-flag/
  11. https://www.thevinylfactory.com/features/an-introduction-to-wire-in-10-records
  12. https://www.spin.com/2021/06/wire-bruce-gilbert-colin-newman-interview/
  13. https://pitchfork.com/reviews/albums/11866-pink-flag-chairs-missing-154/
  14. https://open.spotify.com/artist/2i8ynmFv4qgRksyDlBgi6d
  15. https://www.discogs.com/release/540618-Wire-154
  16. https://www.clashmusic.com/features/start-to-move-a-short-history-of-1970s-wire/
  17. https://socks-studio.com/2014/08/03/i-havent-found-a-measure-yet-to-calibrate-my-displeasure-yet-the-design-sensibility-of-post-punk-band-wire/
  18. https://www.rollingstone.com/music/music-features/wire-reflect-on-40-years-as-punks-ultimate-cult-band-128633/
  19. https://www.encyclopedia.com/science-and-technology/technology/technology-terms-and-concepts/wire
  20. https://www.allmusic.com/artist/wire-mn0000672910
  21. https://wireviews.com/reviews/the_ideal_copy.html
  22. https://www.discogs.com/artist/21323-Wire
  23. https://www.popmatters.com/wire-send-2496113920.html
  24. https://vinylwriters.com/wire-wir-and-the-influence-of-pink-flag-1977/
  25. https://floodmagazine.com/89005/wire-p456-deluxe-feature/
  26. https://rockcellarmagazine.com/colin-newman-wire-interview-change-becomes-us/
  27. https://www.thewire.co.uk/news/26280/bruce-gilbert-releasing-diluvial_a-collaboration-with-baw-artists
  28. https://touch33.net/catalogue/to87-bruce-gilbert-and-baw-diluvial-2.html
  29. https://www.discogs.com/release/1928644-Bruce-Gilbert-Oblivio-Agitatum
  30. https://mego.at/release/EMEGO-212
  31. https://www.soundonsound.com/techniques/classic-tracks-wire-outdoor-miner
  32. https://www.artforum.com/columns/dome-and-groovy-records-199759/
  33. https://sahkorecordings.com/sahko-017.php
  34. https://www.progarchives.com/artist.asp?id=8932
  35. https://ilxor.com/ILX/ThreadSelectedControllerServlet?boardid=41&threadid=2505
  36. https://brucegilbert.bandcamp.com/album/ex-nihilo
  37. https://thequietus.com/news/bruce-gilbert-listen/
  38. https://www.cafeoto.co.uk/events/30-years-editions-mego/
  39. https://editionsmego.bandcamp.com/album/1
  40. https://editionsmego.bandcamp.com/album/2
  41. https://editionsmego.bandcamp.com/album/3-2
  42. https://editionsmego.bandcamp.com/album/4-will-you-speak-this-word
  43. https://mego.at/release/DOME12345
  44. https://4ad.com/releases/735
  45. https://4ad.com/releases/729
  46. https://www.discogs.com/release/820877-Po-Whilst-Climbing-Thieves-Vie-For-Attention
  47. https://www.ltmrecordings.com/mzui_boucd6602.html
  48. https://spittlerecords.bandcamp.com/album/mzui
  49. https://www.discogs.com/release/167370-A-C-Marias-A-C-Drop-So
  50. https://www.discogs.com/release/447309-AC-Marias-Just-Talk
  51. https://www.discogs.com/release/240365-ACMarias-Time-Was
  52. https://www.discogs.com/release/1660306-AC-Marias-One-Of-Our-Girls-Has-Gone-Missing
  53. https://www.discogs.com/release/257311-A-C-Marias-One-Of-Our-Girls-Has-Gone-Missing
  54. https://www.discogs.com/release/125498-Gilbert-Hampson-Kendall-Orr
  55. https://www.discogs.com/release/752613-Iain-Sinclair-Downriver
  56. https://www.discogs.com/release/72943-Bruce-Gilbert-Ron-West-Frequency-Variation
  57. https://www.discogs.com/release/226312-Pan-Sonic-Hayley-Newman-David-Crawforth-Rude-Mechanic
  58. https://www.discogs.com/release/1073356-Gilbert-Poss-Stenger-ManchesterLondon
  59. https://www.discogs.com/release/14950-IBM-The-Oval-Recording
  60. https://www.discogs.com/release/1934145-Souls-On-Board-Souls-On-Board
  61. https://www.discogs.com/release/4774966-Bruce-Gilbert-And-BAW-Diluvial
  62. https://www.discogs.com/release/397039-Bruce-Gilbert-The-Haring
  63. https://www.discogs.com/release/327103-BC-Gilbert-Ordier
  64. https://www.discogs.com/master/260922-Bruce-Gilbert-This-Way-To-The-Shivering-Man
  65. https://www.discogs.com/release/226821-Various-Mesmer-Variations
  66. https://www.discogs.com/release/2795528-Various-RRR-500
  67. https://www.discogs.com/release/113959-Various-Antitrade-An-Ash-International-Compilation
  68. https://www.discogs.com/release/12828727-Various-Audible-Light-An-Exhibition-Of-Sound-And-Light
  69. https://www.discogs.com/release/2014935-Bruce-Gilbert-This-Way
  70. https://www.discogs.com/release/430312-Bruce-Gilbert-The-Shivering-Man
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