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Severed Heads were an Australian electronic music group founded in 1979 as Mr and Mrs No Smoking Sign. The original members were Richard Fielding and Andrew Wright, who were soon joined by Tom Ellard. Fielding and Wright had both left the band by mid-1981 with Ellard remaining the sole consistent member for the rest of the band's existence. Throughout the next decade, several musicians joined Severed Heads' ranks, including Garry Bradbury, Simon Knuckey, Stephen Jones and Paul Deering.

Key Information

In 1984 the band released "Dead Eyes Opened" as a single, which was remixed in 1994 and re-released, reaching No. 16 on the ARIA Singles Chart.[1] Two of their singles, "Greater Reward" (1988) and "All Saints Day" (1989), reached the top 30 on the Billboard Hot Dance Club Songs chart.[2] Ellard disbanded the group in 2007 and continued with other projects. Subsequent Severed Heads reunions have occurred: in 2010 for a 30th-anniversary concert, in 2011 in support of Gary Numan's tour of Australia, again in 2011 at BimFEST in Antwerp, in 2013 with a gig at the Adelaide Festival of Arts and in September 2015 with a tour of the United States for the first time in more than 20 years. In November 2016, Severed Heads played at the State Library of Victoria as part of Melbourne Music Week and in November 2017 they headlined a one-off double act along with Snog at the Corner Hotel in Richmond, Victoria. Severed Heads announced that they would again disband following headlining shows in September 2019.

History

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Early years and independent releases (1979–1982)

[edit]

In 1979, Richard Fielding and Andrew Wright formed an experimental electronic duo, Mr. & Mrs. No Smoking Sign, in Sydney.[3] By the end of that year, Tom Ellard joined the group.[3] The group issued cassette albums, including Mr. and Mrs. No Smoking Sign Go Cruising fer Burgers![3] In December 2006, Ellard explained the name change: "[W]e were called Mr. & Mrs. No Smoking Sign, because that was really ugly. Then, we wanted to fool people that we were Industrial and it worked. Severed Heads was a really dumb name, so that's what stuck. Forever. I hate it by the way."[4]

The group's early music was characterised by the use of tape loops, noisy arrangements of synthesisers and other dissonant sound sources in the general category of industrial music. Wright departed late in 1979, leaving the duo of Ellard and Fielding to put together the band's early studio offerings, including the A-side of a split album, Ear Bitten/No Vowels, No Bowels, with the B-side by Rhythmyx Chymx.[3][5] Fielding departed the band during the recording of 1981's Clean, leaving much of the work to be completed solely by Ellard.[3][5]

Severed Heads began incorporating various popular music tropes, such as a consistent 4/4 rhythm, strong melodic lines, resolving chord arrangements and Ellard's thin but gently eerie vocals and elliptical, poetic lyrics. This move was underscored by the incorporation of mimetic devices, such as drum machines and bass synthesisers. The result was a striking hybrid of avant-garde industrial and pop. The group moved their live shows from "experimental venues and art spaces to rock clubs",[5] and they issued the Blubberknife and 80's Cheesecake albums in 1982 after expanding to include synthesiser player Garry Bradbury and guitarist Simon Knuckey.[3][6] Following the release of these albums, Severed Heads were also joined by video expert and musician Stephen Jones.

Major label years and mainstream success (1983–1998)

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1983 saw British label Ink Records issue Since the Accident, which was later released by Nettwerk records in North America and Volition Records in Australia. AllMusic's John Bush described the album as not "quite a crossover effort" with the lead single, "Dead Eyes Opened", being "surprisingly melodic synth-pop".[7] The band's recording deals led to a world tour, which became a multimedia event with the addition of video synthesisers performed by Jones. After the tour, Severed Heads returned to Australia in August 1984.[8] However, this period saw more personnel change for the band. Bradbury had departed during the recording of Since the Accident in 1983 (leaving most of the recording to Ellard) and Knuckey departed soon before the 1984 world tour, so the lineup that went on tour consisted of Ellard, Jones and the newly recruited Paul Deering.

In 1985, Severed Heads issued City Slab Horror, again on Ink Records for the European market.[3] For this album, Bradbury returned as guest musician and contributed to vocals and songwriting. Clashes with Ellard caused Deering to leave the band in order to continue working with Bradbury. In October that year, Jon Casimir of the Canberra Times described the group as "Australia's most innovative electronic band", which had an "obsession with the ugly and horrific" with music "reminiscent of Cabaret Voltaire and Throbbing Gristle."[9] Local label Volition compiled international tracks for the local-only album Stretcher in November 1985.[3] In August the following year, the band followed with Come Visit the Big Bigot.[3] During that year, Ellard and Jones took Severed Heads on a European and North American tour.[3] Bad Mood Guy was issued by Volition in October 1987.[3] The Canberra Times' Kathryn Whitfield felt the group had "gone way beyond experimental" to provide "a commercially viable product" while Ellard reflected "we have just worked carefully and solidly in an area that we think is good".[10]

Severed Heads peaked at No. 19 in the United States on the Billboard Hot Dance Club Songs chart in 1988 with the 12-inch single "Greater Reward", which later appeared on the album Rotund for Success, issued in October 1989.[3][11] The album included several remixes by Sydney-based producer Robert Racic, who produced tracks for the band through the late 1980s and early 1990s and contributed to their sound.[3] Another single to make the Billboard chart was "All Saints Day" in 1989, which reached No. 25.[11]

In 1989, Nettwerk and Volition re-released Since the Accident and City Slab Horror, each with tracks from Blubberknife, for the first time on CD. The releases were cut from the original masters resulting in superior quality compared to the original Ink Records releases which Ellard later remarked were "cut from a tape of a tape".[12]

In 1992, one year after the release of Cuisine (With Piscatorial), Jones left the band, leaving Ellard as the group's sole official member. Nettwerk did not renew its contract with the band, leaving Severed Heads adrift in the marketplace. Ellard sought out another label for his next release, Gigapus, in 1994, which was released on Volition in Australia and Decibel Records in the US. Around this time, the band had a major Australian hit with a remixed version of "Dead Eyes Opened", which samples Edgar Lustgarten reading from Death on the Crumbles. Both Volition and Decibel soon folded, and once again, Severed Heads were unaligned with the traditional music industry, and they did not fully own the rights to their music. This changed in 1998 when Sony Music released claims to Volition material.

Later years and subsequent releases (1999–2007)

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With his music back in his hands, Ellard began developing an independent music system, entirely Internet-based, at sevcom.com. During the early 2000s, Ellard developed several innovative products, such as the Sevcom Music Server, a subscription-based ambient music distribution system.

Ellard has worked on a side project, Coklacoma, that released a few albums in the late 1990s and early 2000s. By 2004, he was heavily involved with developing video but increasingly felt that the Severed Heads label was a thing of the past, and in 2008 opted to jettison the name. Ellard also worked extensively during the 1990s with other Sydney-based electronic musicians and groups such as Paul Mac (of Itch-E and Scratch-E) and Boxcar, former alumni of the now-defunct Volition label, as well as with the Lab.

Dissolutions and reunions (2008–2019)

[edit]

In early 2008, Ellard announced that Severed Heads were now defunct and that no further creative output would be released under the name. However, the band was reformed by Ellard and new member and longtime friend Stewart Lawler for a 30th-anniversary show on 14 January 2010 as part of the annual Sydney Festival, and in May 2011 the group supported Gary Numan in a tour celebrating the 30th anniversary of Numan's album The Pleasure Principle. In a May 2011 interview, Tom Ellard explained: "Some people thought it was a bit rude of me to just shut it down without a proper farewell tour and so we decided we would drag it out just one more time and say our toodly-doodly's."[13] On 22 October 2011, Severed Heads played what was intended to be their final performance in Australia Joan Sutherland Centre, Promotional material at the Joan Sutherland Performing Arts Centre. At BimFEST 2011 in Antwerp,[14] they performed what was billed as their "absolutely final" performance as Severed Heads.[15] However, Ellard and Lawler performed what was again intended to be a final gig at the Queen's Theatre during the Adelaide Festival of Arts in 2013, a concert that was recorded by Australian Broadcasting Corporation.[16]

Since 2014, several older Severed Heads albums have been released on vinyl via Medical Records and Dark Entries, such as Since the Accident and City Slab Horror. 2016 saw the release of the Beautiful Arabic Surface 10" acetate dub plate, which contained the first newly recorded Severed Heads tracks since their announced hiatus in 2008. The single was released through Bughlt Records in a limited edition of 45 copies.

Renewed interest in the band resulted in a seven-date American tour in September 2015, their first performances in the United States in over 20 years.[17] Following these tour dates, the project remained active with new recordings, further reissues and live performances.

Severed Heads again split up after a string of headlining shows in the US in September 2019. On the band's Bandcamp page selling the Living Museum live compilation, they stated: "The 2019 shows were the last bye bye for Severed Heads in Australia, Europe and the USA, and we thank all the people who came out to see us off. We look forward to 2020 and new nilamox* STUFF."[18]

Influence

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Vancouver-based industrial band Skinny Puppy was influenced by early Severed Heads material. A relationship was formed between the bands which led to Severed Heads being signed to Nettwerk Records and a joint 1986 North American tour. Tom Ellard was known to have participated in some of the band's "brap" sessions, leading to production and performance credits on the Skinny Puppy songs "Assimilate" and "Chainsaw" (on Bites and the Chainsaw single, respectively.)[12]

Australian electropop musician Paul Mac of Itch-E and Scratch-E has stated that, "I thought Severed Heads were the future. They were such an inspiration for Australian[s] who were doing dance music and electronic music, because they were the future."[19]

Trent Reznor (of Nine Inch Nails) and Orbital have both cited Severed Heads as a pivotal influence.[20]


Personnel

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Members

[edit]

Timeline

[edit]

Lineups

[edit]
1979
(Mr. and Mrs. No Smoking Sign) 		1979 1979-1981 1981-1982
  • Richard Fielding - synthesisers
  • Andrew Wright - synthesisers
  • Tom Ellard - vocals, bass, keyboards, synthesisers, electronic percussion
  • Richard Fielding - synthesisers
  • Tom Ellard - vocals, bass, keyboards, synthesisers, electronic percussion
  • Tom Ellard - vocals, bass, keyboards, synthesisers, electronic percussion
1982 1982 1982-1983 1983-1984
  • Tom Ellard - vocals, bass, keyboards, synthesisers, electronic percussion
  • Garry Bradbury - synthesisers, electronic percussion, vocals
  • Tom Ellard - vocals, bass, keyboards, synthesisers, electronic percussion
  • Garry Bradbury - synthesisers, electronic percussion, vocals
  • Simon Knuckey - guitars
  • Tom Ellard - vocals, bass, keyboards, synthesisers, electronic percussion
  • Garry Bradbury - synthesisers, electronic percussion, vocals
  • Simon Knuckey - guitars
  • Stephen Jones - synthesisers, video synthesisers
  • Tom Ellard - vocals, bass, keyboards, synthesisers, electronic percussion
  • Simon Knuckey - guitars
  • Stephen Jones - synthesisers, video synthesisers
1984-1985 1985-1992 1992-2008 2008-2010
  • Tom Ellard - vocals, bass, keyboards, synthesisers, electronic percussion
  • Stephen Jones - synthesisers, video synthesisers
  • Paul Deering - synthesisers
  • Tom Ellard - vocals, bass, keyboards, synthesisers, electronic percussion
  • Stephen Jones - synthesisers, video synthesisers
  • Tom Ellard - vocals, bass, keyboards, synthesisers, electronic percussion

Disbanded

2010-2011 2011-2013 2013 2013-2015
  • Tom Ellard - vocals, bass, keyboards, synthesisers, electronic percussion
  • Stewart Lawler - synthesisers

Disbanded

  • Tom Ellard - vocals, bass, keyboards, synthesisers, electronic percussion
  • Stewart Lawler - synthesisers

Disbanded

2015–2019
  • Tom Ellard - vocals, bass, keyboards, synthesisers, electronic percussion
  • Stewart Lawler - synthesisers

Discography

[edit]
Main article: Severed Heads discography

Awards and nominations

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ARIA Music Awards

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The ARIA Music Awards is an annual awards ceremony held by the Australian Recording Industry Association. They commenced in 1987.

Year Nominee / work Award Result Ref.
2005 The Illustrated Family Doctor Best Original Cast or Show Album Won [21]

References

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

Severed Heads

View on Grokipedia
from Grokipedia
is an Australian electronic group formed in in , renowned for its pioneering contributions to industrial, (EBM), and genres through experimental tape loops, dissonant synthesizers, and later melodic structures. Originally founded as Mr. and Mrs. No Smokin' by Fielding and , with Tom Ellard joining in , the group renamed itself following 's departure, with Ellard emerging as the sole constant member after Fielding left in 1981. Over its more than four-decade span, the lineup fluctuated to include collaborators such as Garry Bradbury, Paul Deering, Simon Knuckey, Stephen Jones, and Robert Racic, evolving from raw industrial noise experiments to more accessible hybrids that incorporated 4/4 rhythms and pop melodies. The band's discography, spanning over 20 albums, highlights key releases like Since the Accident (1983), which showcased their early industrial style, and Rotund for Success (1989), featuring the single "Greater Reward" that broadened their international appeal. Signed to influential labels such as Nettwerk and Volition, Severed Heads achieved commercial success in with the 1984 single "Dead Eyes Opened," which topped the independent charts and marked their transition toward mainstream electronic sounds. After declaring an end to studio work in 2008 and a final show in 2019, the group revived in the with occasional live and new , including the FILM in 2025, cementing its legacy as a foundational act in Australia's alternative music scene.

History

Formation and early independent releases (1979–1982)

Severed Heads originated in , , in 1979, initially formed as the experimental group Mr and Mrs No Smokin' by Fielding and . Tom Ellard joined shortly after as a third member, contributing to early cassette recordings that captured the group's raw, noise-oriented sound. The band operated within Sydney's burgeoning and industrial scenes, drawing inspiration from international acts like while engaging with local experimental communities. In 1979, following Andrew Wright's departure, Fielding renamed the project Severed Heads to adopt a more provocative, industrial edge, ostensibly as a humorous ploy to align with the era's confrontational when submitting a demo to radio station 2JJ. This shift marked a departure from the whimsical original name toward themes of dissonance and shock, reflecting the group's intent to explore abrasive electronic textures. By 1981, with Fielding's exit, Ellard assumed leadership, solidifying the band's direction amid these lineup changes. Embodying a staunch DIY ethos, the group relied on homemade synthesizers, tape loops, and rudimentary home studio setups in bedrooms and kitchens to produce their material, often trading cassettes within underground networks. Initial recordings, such as those on the 1980 split cassette Ear Bitten with Rythmyx Chymx (released via the band's own Terse Tapes label, founded by Ellard in 1979), emphasized looped noise and free-form experimentation derived from live jams and edited fragments. Collaborations with local figures, including experimental video artist Stephen Jones starting in 1982, began integrating visual and sonic elements into their work. Key early releases included the 1981 album Clean (issued on both LP and cassette through Terse Tapes and Dogfood Productions), which introduced more structured melodies amid industrial noise, and the 1982 cassette Blubberknife (also on Terse Tapes), featuring a mix of live medleys and song sketches packaged in repurposed TV casings as sculptural objects. These limited-run efforts highlighted the band's underground status, with distribution confined to mail-order and cassette swaps, facing challenges like audience skepticism toward drummerless electronic sets at avant-garde venues. Early performances, such as a 1982 gig at the Stranded club, often drew small crowds from the milieu but encountered resistance from traditional rock enthusiasts.

Major label era and commercial peak (1983–1998)

In 1983, Severed Heads signed with the UK-based , a of Virgin, which facilitated international distribution and marked their entry into the major . This deal followed the band's growing underground , leading to the of their 1981 Clean and the release of Since the later that year on , with remixing handled at M Squared Studios in . The blended experimental tape loops with more structured electronic compositions, showcasing Tom Ellard's production as the primary creative force alongside Garry Bradbury's contributions on drum programming and tape manipulation. The single "Dead Eyes Opened" from Since the Accident became a breakthrough hit in upon its 1984 release via Volition Records, topping the independent charts and gaining airplay on national radio; a remixed version released in 1994 peaked at number 16 on the ARIA Singles Chart. This success prompted further label alignments, including a North American deal with Nettwerk Records in 1985, which expanded their reach and enabled simultaneous releases across markets. By this period, the band's lineup had stabilized as a duo of Ellard and Bradbury, with Ellard assuming near-total control over composition and recording, while Bradbury focused on live performance elements and sound tweaking during sessions. Severed Heads achieved their commercial peak with Come Visit the Big Bigot in 1986, released concurrently in (Volition), (Nettwerk), and (Virgin/Ink), incorporating synth-pop hooks and danceable rhythms that appealed to broader audiences. Tracks like "We Have Come to Bless the House" received rotation on and alternative video outlets, boosting visibility in the and . The album's production emphasized polished sampling and sequencer-driven beats, reflecting Ellard's shift toward accessibility without abandoning industrial roots. A subsequent world tour in 1986-1987 took the band to and , including support slots for acts like , though logistical challenges strained the duo's resources. Further momentum came with Rotund for Success in 1989 on Nettwerk, which leaned into mainstream electronic pop with seamless mixes by Robert Racic and singles like "Goodbye Tonsils," whose Super-8 film loop video—directed by Bradbury and featuring surreal imagery—aired on programs and underscored the band's visual experimentation. The charted modestly in and supported a 1990 North American headlining tour, solidifying their amid growing tensions over creative direction. Label shifts, including disputes with Virgin over distribution priorities, prompted a reevaluation of major deals by the mid-1990s, as Ellard prioritized artistic autonomy.

Independent phase and experimentation (1999–2007)

Following the end of their major label association with Nettwerk in 1998, Severed Heads, led by Tom Ellard, transitioned to full independence by self-releasing material through the Sevcom label, which Ellard had established in the mid-1990s as a platform for direct-to-fan distribution. This shift marked a return to the band's experimental roots, emphasizing low-cost CD-R formats and internet-based dissemination over commercial production. Sevcom's inaugural Severed Heads release, the 1998 album Haul Ass, set the template for this era, with subsequent output focusing on ambient, functional music and archival material rather than mainstream appeal. Ellard described Sevcom as a "practical workaround" to bypass industry gatekeepers, allowing the band to maintain creative control while archiving decades of work online. The period saw a series of innovative, limited-run releases that explored ambient and utilitarian soundscapes, often themed around everyday environments. In 1999, Airconditioning Your Productivity (Music Server Lite) offered looping tracks designed for office use, exemplifying Ellard's interest in "functional" electronic music. This was followed by the 2001 Cubicle Broadcasts (Music Server V.1), another ambient collection tailored for workspace listening, and the 2002 album Op v1.0, a core experimental work featuring glitchy, evolving compositions that Ellard iteratively updated in subsequent versions (Op v1.1 in 2003, Op v1.2 and Op v2.0 in 2004). Archival efforts included the 2002 CD-R reissue of the 1989 album Rotund for Success, preserving the band's earlier electro-industrial sound in a DIY format. By 2006, releases like Under Gail Succubus—packaged in a metal box alongside Over Barbara Island—highlighted multimedia packaging, blending audio with visual artifacts from Ellard's video experiments. Digital distribution became central to this phase, with Sevcom launching sevcom.com in 1996 to offer back-catalog downloads under a shareware model, where fans could preview tracks before purchasing full versions. This internet focus grew the band's cult following through a mailing list and early MP3 offerings, predating widespread streaming; by 2004, select tracks appeared on iTunes, expanding accessibility beyond physical media. Ellard's solo-adjacent projects under the Severed Heads banner, such as the Music Server series, blurred lines between band output and personal experimentation, incorporating remixes of rare tracks and ambient loops derived from archival tapes. A 2007 compilation, ComMerz 1982-2006, curated by Ellard and released via LTM Recordings under Sevcom license, encapsulated this era's retrospective bent, compiling 36 tracks to trace the band's evolution. Live performances during this time were sporadic but emphasized the band's multimedia heritage, with Ellard incorporating projected videos and VJ elements into sets. Australian tours in the early 2000s focused on niche venues and festivals, fostering direct engagement with a dedicated fanbase bolstered by online communities. Notable experimentation extended to soundtracks, including the 2005 score for the feature film The Illustrated Family Doctor, released on CD/DVD via Mana Soundtracks and earning an ARIA Award for Best Original Score. Internationally, a 2005 appearance at Belgium's Independent Music Festival showcased mobile video projections for devices like PSPs and iPods, underscoring Ellard's push toward portable, interactive electronic art. This phase of niche innovation laid groundwork for future hiatuses, prioritizing artistic autonomy over broader commercial pursuits.

Hiatus, reunions, and transitions (2008–2019)

In February 2008, Tom Ellard announced the end of Severed Heads, declaring the project defunct with no further creative output planned, as the band had ceased to be enjoyable amid challenging fan dynamics and shifting priorities toward his production work. This hiatus coincided with the release of the archival box set Adenoids 1977–1985 by Vinyl-on-Demand, compiling early recordings from 1977 to 1981, including material from cassettes like Earbidden and Clean, marking a retrospective close to the initial phase. Ellard shifted focus to solo endeavors, including computer game sound design and advertising music, while the band's catalog saw sporadic reissues. Despite the dissolution, Ellard led partial reunions for select performances, beginning with a 30th-anniversary concert at the Sydney Festival in January 2010 alongside acts like The Reels and Stephen Mallinder of Cabaret Voltaire. Further shows followed, including support for Gary Numan's Australian tour in 2011 and a set at BIMFest in Antwerp that December, often featuring guest collaborators on keyboards and projected videos by Stephen Jones. In 2013, the band reunited for what was billed as a final show at the Adelaide Festival, collaborating with Atom TM (Uwe Schmidt), blending classic tracks with experimental visuals. These sporadic appearances continued, with a rare U.S. tour in September 2015 across seven cities and a performance at Unsound Festival in Kraków in 2016, where Ellard reflected on the resurgence as a "magical event" prompted by renewed interest in archival material. Lineup transitions solidified Ellard as the sole active member, with long-term collaborators like Stephen Jones departing earlier and live lineups relying on guests such as Stewart Lawler on synthesizers for festivals. Releases during this period emphasized reissues and experiments, including the 2014 Dead Eyes Opened EP reissue by , featuring remastered tracks with lyrics drawn from a British crime radio program, and the 2016 tape-loop exploration Beautiful Arabic Surface on Sevcom. In 2017, Artoffact issued the Brave New Waves Session from a 1980s appearance, alongside ' deluxe reissue of the 1981 debut Come Visit the Big Bigot, highlighting the band's industrial roots amid a evolving electronic scene. By 2019, activity waned to occasional festival slots like Cold Waves in and New York, reflecting Ellard's ambivalence toward the industrial genre's cultural shifts and the demands of performance.

Recent revival and ongoing activity (2020–present)

In 2020, amid a broader revival of interest in early electronic and , Tom Ellard, the band's longstanding leader, gave a marking the group's 40th anniversary, discussing its experimental roots and enduring influence on synth-based genres. This conversation, published in April, highlighted Severed Heads' role in pioneering tape-loop techniques and ambient electronics, reigniting fan engagement through online discussions and archival shares. The band's activity surged in 2025 with the release of the album FILM on September 4 via Sevcom and Bandcamp, compiling music produced for film soundtracks and advertising and featuring eight tracks that blend updated synthesizer textures with ambient drifts, including "Resolve then Regret" and "Avon." Ellard oversaw the production, emphasizing a return to concise, atmospheric compositions that echo the group's experimental ethos while incorporating modern digital tools. This marked their first full studio album in over a decade, distributed primarily through streaming platforms like Bandcamp and Spotify, which enhanced accessibility for global listeners and contributed to renewed streaming metrics in niche electronic circles. Live performances resumed after a six-year hiatus, with announcements in March for European dates, including the Vinyl On Demand Festival in on and a headline show at London's Jazz Café on July 21. The Jazz Café setlist mixed classics like "Dead Eyes Opened" and "Petrol" with newer , performed by Ellard alongside collaborator Stewart Lawler, whose contributions added live to the synth-heavy arrangements. These events, documented in fan videos and reviews, drew crowds interested in the intersection of industrial and contemporary electronic revivals. Ellard's Sevcom label continued digital reissues of early works, such as the remastered Clean (1981) and Ear Bitten compilations, making rare cassette-era tracks available on Bandcamp and broadening the band's archival reach. Blog updates on nilamox.com detailed preparations for the 2025 shows and hinted at potential future tours, focusing on sustainable, invitation-based outings rather than extensive global runs. In October, online buzz peaked with a Reddit post sharing the 1984 track "Mount," sparking discussions on its proto-EBM rhythms and relevance to modern post-punk electronica. Streaming services have significantly boosted the band's visibility since 2020, with platforms like enabling algorithmic discovery among younger electronic listeners and facilitating collaborations, such as Lawler's integration into live sets drawing from current ambient acts. In a 2025 interview, Ellard commented on AI's role in music production, expressing caution: “To be remembered I’d need to use weapons and tactics to climb over other people around me to gain memory space. But it’d all end up distorted AI anyway,” underscoring his preference for human-driven experimentation over automated tools.

Musical style

Core elements and techniques

Severed Heads' music is characterized by a distinctive fusion of industrial noise, synth-pop, and experimental electronica, achieved through the manipulation of distorted samples and tape loops to create abrasive yet rhythmic soundscapes. Early productions relied heavily on analog tape techniques, including cutting, splicing, and looping found sounds around everyday objects like bottles to generate dissonant textures and repetitive motifs. Rather than employing expensive samplers like the Fairlight CMI, the band utilized more accessible tools such as digital delay units for early digital synthesis, layering metallic noise blasts and hypnotic keyboard patterns over steady beats. Signature production methods drew from industrial aesthetics, incorporating cut-up sampling techniques that fragmented audio sources to disrupt linear narratives and evoke disorientation. effects and processed vocals further enhanced this approach, transforming spoken samples—often from news broadcasts or ambient recordings—into eerie, robotic hooks that intertwined with pulsating rhythmic loops. These elements combined to produce atmospheres of unease, blending raw with emergent melodic structures that critiqued and the dehumanizing aspects of technology. In live performances, visual integration amplified the sonic experimentation, with custom video projections generated via a voltage-controlled video synthesizer that synchronized abstract, colorized imagery to the music's rhythms. This setup emphasized surreal, horror-themed aesthetics, featuring distorted visuals that mirrored themes of technological alienation and societal fragmentation. A core conceptual shift in their sound moved from purely harsh, atonal noise toward more accessible melodic frameworks, while retaining motifs of urban blight and machine-age critique through recurring sampled dialogues and synthetic dissonance. For instance, the track "Dead Eyes Opened" exemplifies loop-based composition with its cycling keyboard motif and sped-up vocal samples functioning as hypnotic hooks, overlaid on a collage of murder reportage and metallic percussion to evoke a sense of mechanical horror.

Evolution across eras

During the band's formative years from 1979 to 1982, Severed Heads' sound was rooted in raw industrial , characterized by cassette-based experiments featuring heavy feedback, tape loops, and minimalistic found sounds. Early releases like Ear Bitten (1980) exemplified this approach, with bedroom recordings incorporating radio interference and dissonant audio collages that prioritized sonic experimentation over structure. By 1981's , subtle melodic elements and muted vocals began emerging, marking an initial softening of the abrasive while retaining analog tape manipulation as a core technique. From 1983 to 1998, the band's style evolved toward greater accessibility, integrating pop structures, cleaner lines, and dance-oriented beats into their industrial foundation. Albums such as Since the Accident (1983) introduced rhythmic tape loops and tracks like " Opened," blending with emerging influences, while City Slab Horror (1985) adopted digital sampling for sharper, more urban textures. This period peaked commercially with Rotund for (1989) and Gigapus (1994), where remixed emphasized 4/4 rhythms and melodic hooks, reflecting a shift from underground to experimentation. Later works like Haul Ass (1998) further refined this hybrid, using self-released formats to explore glitchy, abstract pop. In the independent phase spanning 1999 to 2007, Severed Heads returned to abstraction, leveraging digital tools for ambient and glitch-infused compositions that diverged from prior pop accessibility. Releases like Severything (1996, extending into the era) and the Op series (2002–2004) emphasized self-publishing via online platforms, incorporating software-based processing for ethereal soundscapes and soundtrack work, such as The Illustrated Family Doctor (2005). This marked a retreat from dance beats toward introspective, digital abstraction, aligning with broader electronic trends in experimental ambient music. The hiatus and transitions from to 2019 focused on archival remixing and legacy preservation, with the band emphasizing reworks of earlier material to highlight enduring sounds amid reduced new output. A reboot via the Vinyl On Demand box set revived through remastered collections, while subsequent activities included live reinterpretations and compilations that reworked classics like "Petrol" for contemporary contexts, maintaining a balance between historical fidelity and subtle digital enhancements. This era underscored a reflective phase, prioritizing documentation over innovation. Since 2020, Severed Heads has pursued a hybrid of vintage analog aesthetics and contemporary digital production, expanding into ambient territories with releases like the 2025 album FILM. Comprising re-edited tracks originally for film soundtracks and advertising, FILM features atmospheric electronic pieces suitable for passive listening, blending legacy tape-loop influences with modern software tweaks for cinematic depth. This revival adapts to technological advancements, from RAID-based digital archiving to Bandcamp distribution, sustaining the band's experimental ethos in a post-hiatus landscape. Key shifts across these eras reflect broader technological progress, transitioning from analog tape loops in the early to digital sampling by mid-decade, and onward to software-driven composition and by the , enabling greater and accessibility without losing the core of industrial experimentation.

Legacy

Influence on electronic

Severed Heads played a pioneering role in the Australian electronic music scene through their early adoption of sampling and tape manipulation techniques, which laid foundational groundwork for subsequent acts in the country's experimental and glitch-oriented genres. Formed in the late 1970s in , the group experimented with lo-fi industrial and , influencing the development of underground electronic music Down Under. In the industrial and synth spheres, Severed Heads' tape manipulation techniques were cited as influences by key acts, including , whose founder cEvin Key drew inspiration from the group's experimental during the early . The band's track "Dead Eyes Opened" (), with its rhythms and electronic pulses, emerged as a proto-rave , blending industrial edges with danceable elements that prefigured the rave scene's . This track's reworking in 1994 further amplified its impact, airing on Australian radio and appearing at major festivals, solidifying Severed Heads' role in bridging industrial noise to more accessible synth-driven forms. The group's global reach expanded through European and North American tours in 1986 and 1990. Signed to the label Ink Records in 1983, Severed Heads gained international , influencing archival revivals in the 2010s synth wave scene through reissues and renewed in analog techniques. Specific examples of their production legacy include Tom Ellard's methods of and sampling, which resonated in the (IDM) among contemporaries. In 2025, their FILM, comprising unused film scores with ambient textures, has reignited discussions on modern ambient electronic , highlighting the band's enduring experimental ethos. Additionally, Severed Heads' commitment to independent releases and home-based production fostered a DIY electronic ethos across Asia-Pacific scenes, encouraging regional artists to explore accessible, self-produced electronic forms.

Critical reception and recognition

Severed Heads received early critical praise for their innovative approach to electronic in the , with reviewers highlighting the band's experimental use of tape loops, sampling, and bizarre collages as groundbreaking yet challenging. Albums like Since the Accident (1983) and City Slab Horror (1985) were noted for shifting toward a more pop-oriented while retaining disturbing, intriguing elements that garnered brief attention in the UK, including club hits like "Dead Eyes Opened." During the 1990s major label era, reception became more mixed as the band pursued commercial accessibility, with Rotund for Success (1989) praised for its polished synth-dance tracks and off-kilter lyrics but criticized for feeling unnervingly plain and faintly dated compared to earlier experimental work. Retrospective acclaim has since elevated their catalog, as seen in 2010s analyses that position Severed Heads as a cult favorite for their inventive electro-pop sensibility, though some efforts were seen as lightweight or overly involved. The band's 2020s revival has drawn positive coverage, including a celebratory 40-year emphasizing their uncompromising innovation and dedicated fanbase, alongside a 2025 ranking at #20 on Australia's list of the greatest Australian electronic acts of all time for pioneering tape loops and with live video. Critics have consistently praised Severed Heads' surrealistic elements, such as dissonant hooks and creative sound design in tracks like "4.W.D.," while noting criticisms of inaccessibility due to competing audio layers and irritating polyphony that sacrificed broader appeal. Overall, the group maintains a cult status as one of the best pop bands few have heard, influencing electronic and video art through a restless, boundary-pushing legacy.

Personnel

Core and long-term members

Tom Ellard founded Severed Heads in 1979 after joining the initial duo of Fielding and , becoming the band's primary , , and performer from onward, with expertise in electronic music production and visuals including early CD-ROMs and websites. He remained the central figure through the band's evolution, handling songwriting, vocals, and live performances, and continues independent production post-2019 via his Sevcom label and online archives. Richard Fielding co-founded the group in 1979 as part of the experimental outfit Mr. and Mrs. No Smoking Sign, contributing noise elements, tape loops, and the band's name inspired by industrial acts. He focused on raw, during the early cassette era before departing in 1981, citing the band's shift away from pure noise. After leaving, Fielding formed The Loop Orchestra, exploring similar experimental tape-based compositions. Andrew Wright co-founded Severed Heads in 1979 alongside Fielding, providing early drumming, sampling, and rhythmic elements that shaped the debut album Ear Bitten. His involvement was brief, ending shortly after Ellard's arrival in 1979 as he pursued a more conventional musical direction. Garry Bradbury joined in 1982, adding percussion, , and engineering to live performances and recordings like Since the Accident (1983), while also directing early videos such as Canine. He briefly returned in the mid-1980s for projects including City Slab Horror (1985), contributing to the band's nightclub-era expansion before focusing on solo experimental work; Bradbury passed away in 2022. Stephen Jones collaborated from 1982, serving as a long-term live performer and operator through the 1990s, creating custom visuals and elements that integrated with the band's electronic sets. His engineering background enhanced performances until 1992, after which he continued as a prominent Australian and .

Timeline of membership changes

Severed Heads formed in Sydney in 1979 as an experimental electronic group initially known as Mr. and Mrs. No Smoking Sign, with founding members Richard Fielding and Andrew Wright, who were soon joined by Tom Ellard, leading to the name change to Severed Heads. Andrew Wright departed shortly after Ellard's arrival in 1979, though his contributions appeared on early recordings. By mid-1981, Fielding exited to creative differences, describing it as becoming "too rock 'n' roll," leaving Tom Ellard as the sole continuing member. In 1982, Garry Bradbury joined, enhancing live performances and song structures, while Simon Knuckey also joined, adding guitar elements; this formed trio of Ellard, Bradbury, and Knuckey for early major-label releases through 1984. Simon Knuckey left in 1984, and Paul Deering joined, introducing a darker sound, with Bradbury briefly returning for vocals that year. In 1985, both Paul Deering and Garry Bradbury departed, shifting the project to an Ellard-dominated setup with expansions involving collaborators such as Stephen Jones for live video work; Jones resigned in 1992 due to work commitments. From 1999 to 2007, the lineup reduced further to an Ellard-centric operation, with minimal additional members. The band entered a hiatus in 2008, described by Ellard as being "euthanised," but saw a reboot via a Vinyl On Demand box set, remaining mostly solo Ellard efforts with occasional reunions, including a 2019 live performance at Commons. From 2020 to the present, Ellard has continued solo with collaborators, notably Stewart Lawler for live shows, including performances in London and Sydney in 2025, focusing on multimedia elements like video integration.

Notable collaborators and guests

Throughout its history, Severed Heads featured several notable non-core contributors who provided specialized input on recordings and performances. Sydney-based DJ and Racic collaborated extensively with the band starting in the mid-1980s, re-producing and remixing tracks for such as Come Visit the Big Bigot (1986) and Dead Eyes Opened (1990), helping to refine their sound for broader dance audiences. Racic's work emphasized four-on-the-floor rhythms and extended mixes, as heard in the 1994 reissue of "Dead Eyes Opened," where he handled production on multiple versions. Experimental video artist and engineer Stephen Jones partnered with the band from 1982 onward, creating custom analog video synthesizers for live shows and promotional clips, including 1980s MTV-era videos that integrated abstract visuals with the music. His contributions enhanced the audiovisual dimension of performances, such as those supporting City Slab Horror (1985), where synthesized imagery complemented the electronic textures. Garry Bradbury, an audio collagist, appeared as a guest on the 1985 album City Slab Horror, providing vocals and co-writing the title track while also contributing digital samples to "Goodbye Tonsils." His brief involvement added gritty, industrial-tinged vocal elements during a transitional period for the band's sound. In the band's early days, Severed Heads shared a split release with the experimental project Rhythmyx Chymx on the 1980 LP Ear Bitten / No Vowels, No Bowels, blending tape-loop abstractions and synth experiments across sides to showcase emerging Australian electronic aesthetics. More recently, in 2025 live configurations, Stewart Lawler joined as a long-time collaborator on stage, bringing playful electronic elements rooted in the Australian scene to performances and ongoing projects. For select 1990s and 2000s tours, one-time drummers like Paul Deering supported live sets, infusing industrial percussion into sets drawn from albums such as Rotund for Success (1989).

Discography

Studio albums

Severed Heads have released 23 studio albums since their formation in 1979, spanning experimental industrial noise, synth-pop, and electronic compositions that reflect their progression from underground cassette releases to commercial outputs and later digital revivals. Their catalog emphasizes innovative sampling and electronic experimentation, with key releases distributed through independent labels like Ink Records and Volition before shifting to self-released digital formats in later years. The band's early work often appeared on cassette via small labels, while mid-period albums achieved wider distribution on vinyl and CD. Notable examples include tracks like "Dead Eyes Opened" from Since the Accident and "Greater Reward" from Rotund for Success. Many albums were reissued in digital formats during the 2000s, often with bonus tracks, through platforms such as Bandcamp, enhancing accessibility for contemporary audiences.
TitleYearLabelNotes
Ear Bitten / No Vowels, No Bowels1980Terse TapesSplit album cassette; early experimental work.
Side 21980Terse TapesCassette release.
Clean1981Dogfood Production SystemDebut full-length on cassette; highlights include "No Vowels, No Bowels."
Blubberknife1982Terse TapesCassette release featuring raw industrial tracks like "Blubber Knife."
Since the Accident1983Ink RecordsVinyl and cassette; key track "Dead Eyes Opened," which became a breakthrough single.
City Slab Horror1985Ink RecordsVinyl and cassette; includes "Goodbye Tonsils" and "4.W.D."
Clifford Darling, Please Don't Live in the Past1985Ink RecordsExperimental montage-style album on vinyl and cassette; highlights "Clifford Darling."
Come Visit the Big Bigot1986Ink RecordsFirst international commercial release on vinyl and CD; features "Twenty Deadly Diseases" and "Propellor."
Bad Mood Guy1987VolitionVinyl and CD; tracks like "Hot with Fleas" showcase pop influences.
Rotund for Success1989Nettwerk/VolitionCD-focused release with multiple reissues; highlights "All Saints Day" and "Greater Reward."
Cuisine with Piscatorial1991VolitionCD; includes "Bernadette" and "Piscatorial."
Gigapus1994VolitionCD; key tracks "Godsong" and "Houses Still Standing."
Haul Ass1998SevcomCD; experimental electronic work with "A Minute to You."
Contoured Stimulation1998SevcomCD; continuation of experimental style.
Airconditioning Your Productivity1999SevcomCD; digital-era release.
Gashing and Kato2001SevcomCD; abstract electronic.
Cubicle Broadcasts2002SevcomCD; office-themed experiments.
Op2002SevcomCD; minimal electronic.
Controlling Time2003SevcomCD; time-based themes.
Op 1.22004SevcomCD; updated edition.
The Illustrated Family Doctor (Original Film Soundtrack)2005Mana SoundtracksSoundtrack CD; features atmospheric pieces like title track.
Op 2.02005SevcomCD; series continuation.
Op 2.5 (Millennium Cheesecake)2005SevcomCD; bonus material.
Under Gail Succubus2006Sevcom2xCD; late-period release.
Op 32007SevcomCD; final in Op series.

Singles and EPs

Severed Heads' singles and EPs primarily emerged during their active 1980s period, often serving as promotional vehicles for albums or standalone experimental pieces, with formats shifting from vinyl and cassette to digital in the 2000s and beyond. Key releases included early industrial-leaning works on independent labels, while later digital singles reflected archival reissues and new material.
TitleYearFormatLabelNotes
Dead Eyes Opened198412" VinylInk RecordsPromotional single from Since the Accident; 1994 remix released as CD single on Volition, peaking at #16 on the ARIA Singles Chart.
Petrol19857" Vinyl (Australia), 12" Vinyl (international)Volition / NettwerkSynth-pop single with industrial elements; reissued digitally in 2016.
Clifford Darling, Please Don't Live in the Past198512" Vinyl (double), CassetteInk RecordsRetrospective EP compiling pre-1983 tracks; reissued digitally in 2015.
Goodbye Tonsils198512" VinylInk RecordsExperimental single/EP tied to City Slab Horror; featured on various artists compilations like Bulkhead.
Hot with Fleas198612" VinylNettwerkSingle from Bad Mood Guy.
Greater Reward198812" Vinyl, CDNettwerkSingle from Rotund for Success; peaked at #19 on Billboard Dance Chart.
All Saints Day1989CDNettwerkSingle from Rotund for Success; peaked at #25 on Billboard Dance Chart.
Heart of the Party2014Digital singleSevcomArchival digital release from Gigapus era material; unapologetically satirical take on rave culture.
These non-album singles and EPs often appeared on compilation albums like Bulkhead Plus (Singles 1983-2004), highlighting the band's influence on electronic subgenres.

Awards and honors

ARIA Music Awards

Severed Heads received recognition from the , an annual established by the Australian Recording Industry Association () in to honor in the Australian , including contributions to electronic and experimental genres. In 2005, the band won the ARIA Award for Best Original Soundtrack/Cast/Show Album for their soundtrack to the film The Illustrated Family Doctor, directed by Kriv Stenders, marking a significant acknowledgment of their work in electronic . The featured experimental sound design that complemented the film's narrative, highlighting Severed Heads' evolution toward mainstream accessibility while retaining avant-garde elements. This win underscored their influence in the electronic category during ARIA's early emphasis on diverse Australian artists. Although Severed Heads had chart success in the late 1980s and 1990s with singles like "Dead Eyes Opened," which peaked at No. 16 on the ARIA Singles Chart, no additional formal ARIA nominations or wins in other categories, such as engineering or independent releases, are documented in official records. Their entries reflected a push toward broader recognition in Australia's electronic scene, aligning with ARIA's role in promoting local innovation since its inception.

Other recognitions

In 2025, Severed Heads were ranked number 20 on Rolling Stone Australia's list of the 50 Greatest Australian Electronic Acts of All Time, recognizing their enduring influence on the genre from pioneering industrial experiments in the late 1970s to their innovative synth-pop and electronica in subsequent decades. The group has been widely acknowledged as architects of industrial dance music, with their 1980s work marking them as the first Australian electronic act to break into the US dance charts. Severed Heads also hold the distinction of being the inaugural Australian band to release a digital music download in 1996 and the first electronic group to perform at the Big Day Out festival in 1993, milestones that underscored their forward-thinking approach to music distribution and live performance. Their contributions to Australian electronic music have been celebrated in various retrospectives, including a 2012 tribute album, Headspace: A Tribute to Severed Heads, which highlighted their role as pioneers through covers by contemporary artists. Additionally, in a 2016 ABC Double J feature, producers like Paul Mac credited Severed Heads with inspiring the next generation of Australian dance and electronic creators by demonstrating futuristic production techniques using early samplers like the Fairlight CMI.

References

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