GARY BRACKLEY: G.R.I.T. with SCOTT: FUTURE THOUGHT TAPESTRIES
The drone tunnel and the quiet heart inside it.
A relatively new artist from London, Gary Brackley, is a producer whose productions under the name G.R.I.T. began in 2008.
However, this is not where his musical journey began; it started in the early nineties with a friend of his, Scott, a DJ, while Gary was a rapper. Both have a passion for the hip-hop scene, especially for original electro from the 1980s, which takes direct influence from early hip-hop and funk.
It is important to note that they had made several demos without interest. It was not until they entered rap competitions on Greater London Radio (G.L.R.), winning three times, and on each occasion being invited into the station to use their equipment and record a track for the following week’s show, that a release followed shortly after. This release happened in 1992, and it was a 12-inch on an independent label by a Euro-dance group. Scott provided a trance remix, and Gary provided vocals. I understand this happened between their early to mid-teens. During the same period, Scott became a runner-up in a DJ competition.
Additionally, they discovered hardcore, acid, electro, techno, and dub techno. Scott dabbled with hardcore. The sounds of acid and electro (harder-edged) captured Gary; despite this, he found a deep connection with Basic Channel. Staying with techno through the years 1993 to 1995, and following this period, for him, the music dried up, and he stayed away, dipping in occasionally as other commitments in life took over.
Reinvigorated in music creation and Scott suggesting an investment in music software, in 2007, a transition began, and soon Gary started crafting techno, and his production career took hold.
Music is an integral part of these individuals’ temperament; a journey of discovery into their passion in this arena. The connection to Basic Channel was the moment when music went from aural engagement to a will for creative art. The importance of what Basic Channel and its side projects accomplished is breathtaking, and its lasting impact on people cannot be understated; it is a phenomenal artistic creation that keeps on giving. For further reading on this, please turn to Ben’s starting piece on Basic Channel, and, when completed, to the side projects as well. This specific moment in Gary’s history resonates deeply with me, and I am confident this resonates with many others.
What is so beautiful about this is that it is innocence, inquisitiveness, and following that feeling from within. Both found a style that was what these two wanted to give. For me, both of these artists are incredibly talented; though their music production outputs are slightly different, both artists’ music shows careful consideration in its structure. It is this that is so important for me, this undivided attention, and here it shows in abundance.
For Scott, the only track I can locate is the one embedded directly below. I am unsure of the exact production date; it was before April 2013. Beautiful, sensible electronic music with lovely acid and chord lines; it is magnificent. Such a shame this was not finalised.
SCOTT: FUTURE THOUGHT TAPESTRIES
‘Plnetz Reprise (Gabriel’s Quest)’
I understand this file for this track is no longer available, and since its creation, it has evolved into something different.
GARY BRACKLEY: G.R.I.T.
Gary has produced three albums, one on Shoreless and two on MeanWhile; two solo EPs for Exalt, and Rohs! and two joint EPs for Grounded in Humanity and Samuvar Ltd. Additionally, five tracks for Rohs! digital label. He is also part of the Satellite Religion collective, which is SEN; John G. Shern, Future Thought Tapestries (Scott), Channel 73 & Space-ci.
In order, his first release was digital only; 5 tracks for Rohs! in 2008, ‘Tunnel Transmissions Vol.1’.
In the same year, an album titled ‘Expanse’ was released on Shoreless. From the start, his productions show a solid work ethic and deep understanding of rhythm, timbre and technique.
A couple of selects:
‘Marianas Trench’
‘Endless Waves’
The first of his joint EPs alongside Hubertus Schacht followed in 2009. Gary’s track, ‘Infinite’.
In 2012, there were two remix albums of Expanse released on Entropy, part I, part II, and a third release containing a single track, ‘Expanse cv313 Expansed Reprise’ with a duration of 21:33. Rod Modell and Stephen Hitchell use micro-samples from every track on the album and reprocess them to create this beautiful soundscape. Incredible.
In the same year, Gary produced an astonishing album, ‘As I Look To The Sky From The Surface Of The Water’. It is a masterpiece that makes an incredibly strong statement, cementing this release with its own distinct independence from the creator’s own material.
‘As I Look To The Sky From The Surface Of The Water’. Full album.
The whole album is phenomenal. The title track is 9.49 of pure emotion that will open the heart of anyone who engages, and it does not let go, and that, for me, is always a good thing. More precisely, it is sound that covers me like a blanket and holds me in a secure state, one of love and incredible positivity. Evoke is another that leaves me in awe. It is electronic music of the highest order. This release truly hits hard.
Tracks from this album, including the opener, were offered to me for consideration; unfortunately, at that time, I was not in a position to take them on, which was upsetting. I am forever grateful to Rob and Graeme at Meanwhile for this one.
In 2009, ‘Closure E.P.’ was released on Rohs!
‘Closure’
A quality track, soothing and freeing chord lines, yet they also draw me back in.
In 2017, he released another astounding album of faultless production and sonic technique, ‘Drifting From The Bay’, with two tracks chosen.
‘Drifting From The Bay’
‘Principle’
In 2020, a joint EP with Stojche Cvetanovski, titled ‘Genocide’, surfaced, featuring two tracks from Gary: ‘Karoshi’ and ‘Tears’.
Gary, immersed in hip‑hop: rapping, recording at radio stations, winning freestyle competitions, absorbing rhythm as a language, is something he lived long before he ever touched dub‑techno. This early grounding in cadence never left him. You can hear it in his percussion. When he shifted into electronic music, he brought with him a groove and emotional truth that is unmistakably his own.
What sets him apart is his sincerity; there is no posturing, no attempt to mimic the Berlin lineage, and no desire to fit into a scene; a sound wholly shaped by his environment, history, and emotional landscape; music made by someone who understands that depth is through honesty.
Gary’s own words, “I hope to continue making music and find it very satisfying when I hear that the music I have made reaches someone like yourself in the way that it reaches me.” These words speak volumes. His tracks already prove that his production knowledge is wide in scope and that his technique is finely tuned, as his compositions are layered with precision sound choices, shifting between the diverse depth found in dub-techno and the emotive beauty of ambient. True commitment to his work ethic, and for me, it’s reflected in his statement. That the music he produces needs to reach him in the way he intended, and that this precise emotional state and feeling transposes to others in the same way, his pieces show that he sets his creative bar extremely high.
The same is true for Scott. Though I have only got one song to go from here, this one song is enough for me to commend and speak with equal high praise. It is a track that encompasses all that the 1990s were; it is timeless and incredibly well thought out. Though unfinished, it is seriously good.
Two producers that I hope have not finished creating.
Until the next one, I leave you with this intoxicating sense of freedom. A 7-inch from 2014; both tracks for you.
‘Midway Across The Bridge’
‘This Journey Of Ours’
Stay safe.
Peace and Love.
Stef