Greg Bullock grew up in rural New Jersey an hour west of New York City. His first foray into music was sneaking into his Uncles bedroom and listening to the Beatles Abby Road and the White Album for hours on end through headphones. He continued his appetite for the “study of recorded music” delving into the music of Pink Floyd, Yes, The Moody Blues, Led Zeppelin, Jethro Tull and Genesis. Listening to The Dark Side Of The Moon for the first time, wearing headphones, changed the coarse of his life … a student of recorded music forevermore.
Surrounded by music enthusiasts there was always great music in the background … with a Hammond organ in the house, where he dabbled, he played trumpet and drums in his primary school band (for a little while). He has taken lessons on violin, plays mandolin, and finally became fully engulfed in synthesizers during the synth-pop heyday of the 1980s. Also, compiling journals of lyrical poetry for what he knew would be a future in music.
In his late teens he began the first “RealEyes” project with collaborators Eric Beebe and Martin Rumfield. The RealEyes project consisted of a full album and an accompanying book of poetry. Greg wrote the lyrics and co-produced the project with Eric, while Eric and Marty wrote the music and performed on the album. Greg penned the accompanying book of poetry. He later joined the band RealEyes as keyboardist and continued to write lyrics. Through RealEyes his passion for the studio and song writing continued to grow.
After a departure from RealEyes Greg began the journey of Umbra projects. Writing and recording on a cheap 4-track he developed his studio skills working on project himself and with other musicians interested in original music. During this period he released two Umbra EP cassette projects, “Umbra - Incidents And Occurrence” and “Umbra - Sound Offering”, and recorded several singles as well. While these songs are no longer available to the public, they remain viable experiences in honing an obsession with recorded music.
In 2010 Greg collaborated on "Umbra - the Embers Rising project", with producer/engineer/musician Jeff Miller from the band Simon Apple. Vocalists Charles Phoenix and Eric Harris lent individual touches to lyrical interpretation, and violinist Emilio China is featured on "Stop The Time". The CD was released October 1, 2011, containing pieces reflecting their musical adventures.
In 2012 Greg explored music delving yet deeper into uncharted territory. Vocalist Picasso Dular and guitarist Leon Muhudinov contributed their considerable talent to Bare Trees tracks. Bare Trees was an Umbra project dedicated to collaborating with other artists exploring in the forest of sonicscapes. Umbra continued to explore the musical landscape, on the fringe of pop-music and usually left of center until recently, when Greg decided it is time to work under his own name rather than the pseudonym, Umbra.
In December 2017 he released the EP CD "Greg Bullock - Calling Card", to showcase recent studio synth-based recordings ... he plans on releasing singles most suitable for soundtrack and backround music for the foreseeable future. Always open to working with collaborators with similar visions of sonic exploration, his journey through the musical galaxy continues.
In early 2019 Greg began his latest project. Cyborg Amok is an original band project developing a live show along with recording music for future releases of Cyborg Amok music. This project includes Greg on synthesizers and vocals, Daniel Simoes on guitars and vocals, Brydon Bullock on drums/percussion and vocals. More info available here; Cyborg Amok Facebook
Greg usually engages in projects that evoke ambient, cinematic soundscapes, exploring unique rhythm structures and creating a dark and edgy atmosphere, emulating the soundtrack where dreams reside and percolate. Greg has a keyboard style that may be termed as Progressively Gothic Synth-Rock. He records in his studio, GABWorx – Studio B. Creating music on his own and with collaborators, he writes, records and produces projects that are catalogs of imagery, layered in synthetic waves, twisted organic tones, and a slightly pop crust.
… “the language angels speak in the darkness”