Percy Grainger’s (1882–1961) experimentation with music technologies of the early twentieth century arguably demonstrates a form of ‘queer modernism’, one that often gets excluded from the twentieth-century modernist canon. In this chapter, I consider Grainger’s Free Music—the complex and irregular rendering of the universe through music—and his instrument inventions (Free Music Machines) through the lens of queer theory. Although music historians do not normally include Grainger within the canon of queer composers or musicians, this chapter nonetheless suggests we can orient Grainger’s archive as a resource containing personal documentation of his sexual deviancy in the same breath as documentation of his Free Music ideologies. I posit that the resulting invented instruments can be considered queer cyborgs. Vis-à-vis Free Music’s lofty and imprecise sonic aims and the crafted instruments’ abject and atypical material construction from household objects and dumpster dives, I argue that these instruments—and their failure—suggest Grainger’s queer relationship to modernist aesthetics. In applying frameworks of queerness to Grainger, this chapter challenges and reorients existing discourses around early twentieth-century music technology, inspiring queer visitation to unconventional archives.