Thursday, July 26, 2012
First show in a long long time! Thanks to Dreamland Recordings for inviting The Ghost of 29 Megacycles to play!
Dreamland Recordings in conjunction with Conduit Arts Present: BROKEN SIGNALS
THE GHOST OF 29 MEGACYCLES works with guitar, organ, and vocals, all deeply treated with reverb and other effects. The music is essentially minimal in many regards, though the sustained organ and guitar overtones interact in ways that create a very dense sound. Building tension with repetition, the songs unfold very slowly, immersing the listener in the interactions of the pulsing sine waves fusing the tones of all three elements together.
VORD dense cinematic electronics and guitar drones from member of local instrumentalists Maya.
BARNABY OLIVER is a musician and multimedia artist most notable for his work in the experimental improvisational band Infinite Decimals. He has developed a unique practice drawing on a diverse range of sources, from 60's experimentalists Alvin Lucier and LaMonte Young through to dub pioneers King Tubby and Lee Perry. A common theme is the use of sound as conveyor of hidden worlds, exploring physiological and environmental processes through the creation of sensitised fields.
DARK PASSENGER has been active since 2009, with appearances on releases for local labels Vacant Valley and Iceage Productions. His sound is in a constant flux, yet the sole aim lays within creating a stream of sound with a degraded metallic tinge. Sometimes cacophonous, often desolate though always foreboding; inspired by the many lost souls walking the forgotten back roads of the world.
Saturday July 28th at Conduit Arts, 83 Brunswick St. Fitzroy.
Starts 8pm. $5.00
Monday, January 31, 2011
The Ghost of 29 Megacycles is an Australian trio based in Perth and Melbourne bringing us their personal brand of sweet ambient electronic droning on The Hummingbird Dream (HELLO SQUARE RECORDINGS CUBE043); most of this release showcases Greg Taw who overdubs his suffused guitar and organ murmurings with some field recordings to produce the 24-minute epic opening track. Wisely, he refuses to vary the pace, timbre, tonal range or anything else for the duration, thus allowing the listener to enjoy the soul-stirring sensations of a sunset in slow motion, or a dream of flying over benign alien landscapes on wings of purple feathers. On the second part, Taw is joined by vocalist Jessyca Hutchins and organ player Rupert Thomas, to produce a slightly more dramatic combination of mixed chords, throbbing drones, airy angelic singing, and mesmerising effects. A lot of people working in this area strive hard for that elusive feeling of “epic timelessness”, but The Ghost of 29 Megacycles seem to achieve it without even trying. Despite layers of studio craft, what emerges is very natural and instinctive music, warm and human. A nice one. Be sure to look out for their 2009 release, Love Via Paper Planes. Also note the cover art, which I thought was a blurry photo of the Australian landscape, but turns out to be an unmade bed. This may say something about their music, finding all of nature’s grandeur contained inside a simple domestic scene. Also it clues you in that the music is somnolent and dreamy, in a good way.http://www.thesoundprojector.com/2011/01/23/voile-et-vapeur/
The Hummingbird Dream EP
(hellosQuare Recordings / Import)
Bien qu’ils aient déjà publié un album l’an passé, ce n’est qu’avec cet EP que l’on découvre The Ghost Of 29 Megacycles. La formation australienne, principalement œuvre du seul Greg Taw, nous livre ici deux morceaux, le premier long de vingt-quatre minutes et opérant dans une ambient cotonneuse toute classique, et le second d’un peu moins de sept minutes au format plus post-pop.
Sur la première partie, Greg Taw assure avec guitare, orgue et field recordings, l’intégralité des instrumentations, disposant accords profonds et nappes enveloppantes tout au long du titre. Comme souvent avec ce style musical, la durée permet aux différentes composantes de s’installer sans heurts et à l’auditeur de se plonger progressivement dans cet amas soyeux, marqué dans ses dernières minutes par une inflexion bucolique résultant de quelques samples de gazouillis d’oiseaux.
Alors qu’on imaginait la seconde partie de The Hummingbird Dream opérer dans la même mouvance, c’est avec une certaine surprise qu’on se trouve face à un morceau entre shoegazing alangui et pop embuée. Rejoint au chant par Jessyca Hutchins et Rebecca Orchard, Greg Taw bénéficie également de l’apport de Rupert Thomas à l’orgue pour un ensemble tout aussi convaincant que la première partie, baigné par cet enchevêtrement enjôleur de voix.
Wednesday, December 29, 2010
"MIXED SEASONS" 4 WAY SPLIT TAPE W/ERASERS, GHOST OF 29 MEGACYCLES, BABY BIRDS DON'T DRINK MILK & THE TOWNHOUSES is out now on the OWLS Label.
This release is very limited and available for only $5 from DADA Records in Perth.
If you are Interstate or Overseas please contact OWLS at email@example.com to purchase.
The Ghost of 29 Megacycles: The Hummingbird Dream
For whatever reason, I'd thought before hearing it that The Ghost Of 29 Megacycles' The Hummingbird Dream might be a blistering, guitar-fueled meltdown of some kind, but the thirty-two-minute release, the Australian outfit's follow-up to its debut CD Love Via Paper Planes, turns out to be the complete opposite. Born from “sleepless nights, morning silence, and sadness,” the new release pairs a twenty-four-minute first part played entirely by Greg Taw using guitar, organ, and field recordings as sound sources with a shorter second part where Taw is joined by Jessyca Hutchins (vocals), Rupert Thomas (organ), and Rebecca Orchard (vocals).
The elegiac drone that is Part one generates a beautiful drifting character when its crystalline guitar figures stretch out interminably and its slivers and shadings flicker overtop the thick drone that the organ establishes underneath. The mood is becalmed yet blissed-out too, especially when the smoldering slow-burn of the electric guitar moves to the forefront. The late-inning appearance of bird sounds gives the track an early morning feel, which in turn suggests that what has come before could be read as an aural simulation of a somewhat restless sleep state. “The Hummingbird Dream (Part 2)” comes a bit closer to the shoegaze spirit I'd expected before hearing the recording but even here the music is pitched way down, and consequently the dream-like quality of the opening piece persists into the second albeit in different form. Electric guitar strums and hushed vocals lend it a haunting, song-like quality, while a brief vocal interlude courtesy of Rebecca Orchard points the music heavenward again. Call it dreamscaping for the lost and lonely.