The Ghost of 29 Megacycles: The Hummingbird Dream
hellosQuare Recordings
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.
January 2011
http://www.textura.org/reviews/ghost29megacycles_hummingbirddream.htm
The Ghost of 29 Megacycles (Australia) recently released a beautiful new EP-album called "The Hummingbird Dream".
Though this is the second release under this name (following up "Love Via Paper Planes" from 2009), the main part of this new album is a long drone solo recording by Greg Thaw on guitar, organ and field recording.
Part 1 of this "delicate two song cycle born from sleepless nights, morning silence and sadness" starts with a guitar based drone, slowly deconstructing - until the morning breaks.
Hidden begind the guitar overtones in the first half of part 1, I hear a subtle reference to Brian Eno's classic masterpiece "An Ending".
I doubt this is intentionally, because it may also be a resemblance based on the chosen chords and the overall atmosphere, but it is as if this piece is echoing a memory of the original En/Lanois track, though more abstract and almost faded.
Celer is another reference that comes to mind when trying to describe what this music sounds like.
In spite of the references to 'sleepless nights' and 'sadness', there is a strong sense of hope embedded in the music, and especially in the sound of the hummingbird singing in the 'morning silence'.
Part 2, also featuring Jessyca Hutchins and Rebecca Orchard (vocals) and Rupert Thomas (organ), is a much shorter piece concluding the album in a different - shoegaze-like - style.These Streets. - Short Documentary from Tom Neal on Vimeo.
These Streets is a short story that explores the thoughts and experiences of three Ambulance Paramedics that have numerous years in the job individually. From the beginnings of a career to what hasbeen seen and encountered in such a high discipline job, a short insight is given into the demanding job of Ambulance Paramedics in Melbourne. - Tom Neal.
ever since my discovery of 80s bands with names like SPK or Scattered Order and the likes years ago i was aware of the fact that this remote land commonly known as australia must have deeper secrets than the ones we are made aware of growing up elsewhere on planet earth. of course, in this day and age setting your feet on foreign soils wouldn’t make it all too difficult bumping into every stereotype and cliché you expected given you’re carrying expectations at all. but, generally speaking, how many people do you know not getting informed about the latest tourist highlights prior departure just to make sure seeing what different places are all about in times of mass tourism and short attention spans? seriously, did you ever wonder then on how much we would be missing out approaching life merely this way relying on filtered information and lack of interest or curiosity? it might be the easiest way checking ourselves into some high-rise clusters being drawn on the very canvas which makes up for the horizon right next to a beach resort wrapping our bodies in thinly sliced ham waiting packed like sardines until the sun frizzles our skin covered in grease. but might this be the most rewarding approach? well, looking around any corner exposes some shades of grey and even these hues differ as much as all our perceptions do but only illuminating these shades with bright colours gives me a glimpse of the very satisfaction i’m striving for. far from perfection, yet getting a few steps closer when the soundtrack makes my feelings run high leaving the impression i just need to stretch my arms a little further to be able to eventually hold onto the stars compressing the vast landscapes surrounding me.
this compilation features 11 songs of people creating an outstandingly vivid music scene far from mainstream activities and i’m glad i could witness at least glimpses of it while living in sydney. there are many more projects out there at least as moving as the featured artists here which made it quite difficult choosing and compiling the tracks for this volume but isn’t the best and most intense way listening to music, and above all feeling it, when it is performed live? so, give a look around the corners into the dark alleyways and you’ll find spots being illuminated in brighter colours than you could have ever imagined. many of the dozens of shows i’ve seen were blistering and full of energy and i’m sure that’s still the case. thanks everyone involved, you know who you are – i’ll be around again sometime!
this compilation is made on this planet from local and imported ingredients. thanks for tuning in and please enjoy!
Download here:
The much briefer Pt.2 plays out like a more ambitious extension of the drone-based songcraft only previously skirted by the band. Featuring Erasers and Jane Harris, it’s an elliptical, sunken duet which demonstrates how fecund the pairing of Greg Taw’s sonics and female vocals can be, as well as reaffirming how adept he is at choosing his collaborators. Faintly resembling Low under a layer of static, Pt.2 aches towards a glacial breakdown which reaches a level of emotional depth and and clarity hitherto only hinted at by the project, somewhat reducing Pt.1 to an overlong prelude. Taken together, The Hummingbird Dream is a consolidation of what Taw has already proven he can achieve with traditional drone forms, as well as a taste of what he can achieve by transcending it.
By
http://lifeisnoise.com/2010/11/02/review-ghost-of-29-megacycles-the-hummingbird-dream/
THE GHOST OF 29 MEGACYLCES – THE HUMMINGBIRD DREAM (CD by Hellosquare Recordings)
Greg Taw is The Ghost Of 29 Megacycles, and as such he has a previous work on Hellosquare Recordings, a CD for Sound & Fury and various CDRs. ‘The Hummingbird Dream’, his second CD, has two pieces, a part one and a part two. Taw plays guitar, organ and field recordings on both and for the second part (which last just under seven minutes, whereas part one is twenty-four minutes), he receives help from two female vocalists and someone who plays organ. If you would have told me its just an organ and some effects, I would have probably believed that also. The twenty-four minutes of part one is a beautiful drone piece of organ sounds that wash about. Seemingly, endlessly sustaining, this meanders about, light weighted, and spacious, with a somewhat sad undercurrent. Maybe it has guitars too, but I find them hard to hear, but no doubt they mingle together somewhere captured in effect land. The bird calls towards the end mark the end and moves forward to the second part, in which voices can be heard. This is more a song-like piece, from the world of dream-pop and shoegazing, of old Ochre Records. Maybe the two pieces don’t go very well together, but the second complements the first and could have been perhaps a bit longer, to balance a bit better with the first part, but throughout this is a very fine release. Nothing new, but definitely something great. Relaxing drone music. (FdW)
“The Ghost of 29 Megacycles come from Australia where it’s sunny and people have corks hanging from their hats and Alf Stewart lives there shaking his fist at children and people say “I can see the pub from here” sometimes. However, they seem happy to ignore most of these things in favor of sculpting sheer, blissful surfaces of drone from organs and guitars before topping them off with occasional shoe gaze-style breathy female vocalizing.”
Thus spoke Brett of Norman Records, reviewing ‘Love Via Paper Planes’ – the debut album from the aforementioned Ghost. Which, apart from being very funny, is also true. The part about the corks especially.
Brett will no doubt be very happy to hear that their new release, ‘The Hummingbird Dream’, is an epic and tender two track EP that is a rival to any drone release for the year – dense, moving and cavernous. Protagonist Greg Taw constructs the two tracks, with assistance from Jessyca Hutchins, Rupert Thomas and Rebecca Orchard on the second. The tracks are described as having been “born from sleepless nights, morning silence and sadness”, and the vast 24-minute opener ‘Part 1’ certainly reminds of the both the panic and calm of insomnia. It also hints the possibility of a positive outcome, with the bird-sound that ends the track, and fades into the second.
Read the entire Interview here: Catching the wave at TINA, Newcastle's annual festival of contemporary arts, we hear new ABC studio recordings from two of this year's festival featured artists, Shoeb Ahmad (of hellosQuare records, Canberra) and Greg Taw (of Ghost of 29 Megacycles, Perth).
Listen online at
The songs of Grouper aka Liz Harris are densely compelling micro-universes. Each piece is layered with glowing washes of reverb and softly howling echoes of delay, in which Harris positions herself. Soft focus, and at times lost amid the clouds of audio, her voice emerges with a haunting fragility. Grouper’s work epitomises the potentials of textural songwriting – a practise of ukiyo-e like qualities, where audio colours are squeezed through a gauzy treatment, ultimately imprinting new and unexpected sound-shapes.
Over the past 5 years, Grouper’s records including Way Their Crept, Cover The Windows And The Walls and the highly successful Dragging A Dead Deer Up A Hill have defined her as one of the most evocative and unique voices to emerge from the USA. She travels to Australia on the back of several new releases including a soon to be issued new solo LP.
Grouper also will be releasing a special Tour 7″ with Room40 titled ‘Hold/Sick’, which will be available at the shows.
Joining her for this special show in Canberra is Melbourne’s Ghost Of 29 Megacycles launching his beautifully dream-like album ‘The Hummingbird Dream’ on hellosQuare and local funsters Ah! Pandita.
The Ghost Of 29 Megacycles returns with ‘The Hummingbird Dream’, a delicate two song cycle born from sleepless nights, morning silence and sadness. Lush in tone and beautiful in it’s loneliness, these pieces (featuring contributions by Jane Harris and Erasers) have been documented in glorious warmth by good friends Crispin Wellington and Matt Rosner while the good ears of Taylor Deupree have crafted the pieces into a whole.
This release is packaged in a full colour cardboard gatefold jacket and purchase also includes immediate download in your choice of 320k mp3, FLAC, or just about any other format you could possibly desire.
Out on Hellosquare Recordings late September 2010
http://hellosquare.wordpress.com/
http://hellosquare.bandcamp.com/album/the-ghost-of-29-megacycles-the-hummingbird-dream
Score: 7/10
Love Via Paper Planes is the debut LP from Australia’s The Ghost of 29 Megacycles, a trio of 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. The dynamism of the tracks comes from the tension between the guitar and organ, while the vocals, as ethereal and ghostly as they may be, ground the tracks and provide a driving force compositionally. There’s a very "Kranky" feeling to this record, with its slow, immersive soundscapes, which at times recalls Sigur Rós at its most ambient. But the waves of organ and guitar, pleasing though they are, would be much less satisfying without the addition of the vocals. They make up for less sophisticated or complex instrumentation, instead giving the whole affair a dreamy, hopeful character not usually associated with drone-based music but without the tones typically associated with ambient music. Ultimately the vocals keep the music from sounding too aimless or meandering too far afield.
At over fifteen minutes in length, the opening track, “The Cold Light of Silence,” makes up half the length of the release. Each subsequent track gets shorter, achieving the effect of not distracting from the magnitude of the first piece, but also simultaneously causing the second half of the record passes very quickly. I’m sure other records use a similar device, though I cannot think of any off the top of my head, and so it seems worth mentioning that it is a clever device for ordering a record. In the opening song, the organ and guitar swell and repeat for over four minutes, seemingly slowly gaining speed until the cooing whispery female vocals appear. The other two instruments continue on as before, however; their effects’ amplified overtones interact in interesting ways, as chords change subtly, gradually increasing the intense cloud of sound. The track doesn’t crescendo, but rather ebbs and flows, enveloping the listener and carrying him or her along, drifting through as Karen de San Miguel’s vocals begin to overlap themselves. The final few minutes act as a sort of coda, showcasing the guitar’s shimmering waves of sound.
The second track, “Passing, Daydreams,” sounds distinct from the first, even though the tones are essentially the same. It is a credit to the trio that it has the ability to make such minimal components sound unique even at first listen. More attention is given to the guitar, and the organ takes a background role while the higher-pitch parts take the position of the vocals from the prior track. “We Are the New Romantics” actually sounds a bit like the chord progression from Sigur Rós’ “Heysatan” slowed down and washed out. The opening of the eponymous track sounds reminiscent of the chords from the opener of Saxon Shore’s excellent record from last year. These two tracks, each a little over six minutes, make use of a similar format, repeating the same chord progression while the tones of the two instruments gradually shift, allowing for pleasing interactions. These mostly instrumental songs, with the deep organ drones and tremolo guitar, are lovely and drift along just long enough to avoid becoming boring.
The very end of “Love Via Paper Planes” introduces a slow vocal melody, seemingly composed of both male and female vocals, that carry the tune out into the last two shorter pieces, each at about two and a half minutes. “Dusted” revolves around an alternating organ riff, guitar noise, and those same beautiful female vocals. Despite being so short, the track is surprisingly dynamic, suggesting to this reviewer that the group might benefit from writing concise songs in the future, or at least continuing to use them to balance out the sprawling epic tracks. The closing track, “Tue Love Will Find You In the End,” is the only track that features the male vocals upfront, and it sounds reminiscent of Bill Callaghan of Smog. It's an interesting choice to end the debut, as it almost stands out too much, but it is appropriate in its short, hopeful punctuation.
The group takes its name from a 1985 book by John G. Fuller. Fuller was well-known for his writings on the supernatural, and The Ghost of 29 Megacycles was his explorations of Electronic Voice Phenomena (EVP), which claims to be the recording of spirits found in various recording processes. For instance, if one attunes one’s recording equipment properly, the sound of radio static or faint electronic signals in a room will reveal, allegedly, the voices of the dead. There is a long history of research into the paranormal, including such prominent figures as Thomas Edison and William James, beginning in the early days of photography and accelerated by the introduction of communication technologies such as the telephone and the radio. At the time, it seemed plausible that if we can communicate wirelessly through signals we cannot naturally perceive, than perhaps we can reach out to the other side of death as well. These experiments are still carried on today, by artists and researchers such as Michael Esposito, but the recordings of The Ghost of 29 Megacycles sounds little like these recordings. The imagery does help to create an aesthetic that is appropriate to the band's moody, slow-paced ethereal music. In the end, Love Via Paper Planes is an impressive debut, another credit to the Sound & Fury roster. Calming and immersive without overreaching or adding unnecessary embellishments; I’ll certainly look forward to hearing how the band will evolve.
-Joseph Sannicandro
Listening to the new Fawn album Dead Rhythm, my film nerd mind went directly to Harrison Ford instead. Why? Because it's adventure music with an exotic air, particularly when the folky ‘Median' strikes, so naturally it is Temple of Doom times. Things get weird with the atmospheric loops of ‘Dead Meat', take us out of Spielberg territory.
Yet the image of Harrison Ford sticks around, but this time in ‘Plane Food', it's Ford in The Mosquito Coast where he plays a freaky inventor who wants to build a giant fridge in Central America. Hardly anybody saw it. But it's just like a Werner Herzog movie, only directed by an Aussie. And Dead Rhythm can double as its brand new soundtrack. Music that is rugged, bold and a little bit madcap.
The Ghost of 29 Megacycles: Love Via Paper Planes
Sound & Fury Records
For some odd reason, I half-expected to hear a set of guitar-generated blaze when I put on Love Via Paper Planes by The Ghost of 29 Megacycles, a Perth, Australia-based trio featuring Karen de san Miguel, Matthew Aitken, and Gregory Taw. Maybe it had something to do with the stark blood-red photograph on the package or perhaps the My Bloody Valentine reference on the promo sheet. Regardless, the album's material is far closer in style to ambient dronescaping than shoegaze, as the group's debut full-length finds the trio serving up six long-form and miniature pieces in equally satisfying manner. The trio builds its sound using reverb-drenched layers of organs and guitars—drums and percussion conspicuously absent—and occasionally wraps a breathy vocal mass around it too.
For almost sixteen minutes, “The Cold Light of Silence” drapes de san Miguel's ethereal murmur over a beatific haze that turns even more church-like when the vocals drop out a dozen minutes in, leaving immense, cathedralesque chords to intone in their absence. In “Passing, Daydreams,” a shuddering and blurry mass quietly roars for eleven minutes, the chords of its melancholy song splintered into shards within the vortex. At the opposite end of the temporal spectrum, “Dusted” breathes shoegaze fire for a too-short three-minutes, while “True Love Will Find You in the End” catches one off-guard by ending the album with a shoegaze-&-country ballad (featuring near-buried vocals by producer Matt Rösner). Elsewhere, the stately title track and “We Are the New Romantics” ride blissed-out waves of crushing, guitar-based drift and distortion. A strong showing all around.
May 2010
http://www.textura.org/reviews/ghost29megacycles.htm
The Ghost Of 29 Megacycles take their name from a book from 1986 by John G Fuller which explores the possibility of recording the faint voices of ghosts. There’s a good chance that, given guitars, synths and a 4-track recorder, those ghosts just might make music that sounds like Love Via Paper Planes.
It may just be coincidence, but the 6 tracks on this, the first album the band have released via a label rather than on their own, are ordered from longest to shortest. This is a nice tactic, not allowing fatigue to set in, but still giving space for a track like the 15 minute opener, ‘The Cold Light Of Silence’, space to work its magic. And with the ethereal nature of the sound, a sprawling, growing ambience, talk of ghostly voices and actual voices both washed out in the distance and whispering their wordless melodies in your ear, magic is certainly an apt word. The tracks are each based on extended drones but, unlike much first take improvisation which works with drones, The Ghosts Of 29 Megacycles work with harmonic structures. It takes well over 5 minutes, but when ‘The Cold Light’s initial two chord suspended cycle finally falls onto the root chord, the effect is monumental, almost physically tangible. Elsewhere, ‘We Are The New Romantics’ has huge, ringing distorted guitar chords mixed low and embedded into their own reverb trail but, again, the chordal progression sets it apart from run of the mill drone. In this case, it’s a dead ringer for part of the chord structure of U2’s ‘Where The Streets Have No Name’ and aims for (and achieves) the same level of grandeur, though, obviously, in a different sonic manner. Having said that, Eno-esque atmospheres abound across the album, if Eno were to embrace the lo-fi underground. Which is not to say this is particularly lo-fi, but it does away with the sparkle and sheen and replaces it with more muted timbres and also allows harmonic feedback loose in a way that a ‘proper’ producer might not allow, but is used in the title track particularly effectively.
All this may sound overly serious, but a small glimpse into process at the conclusion of ‘Dusted’ demonstrates the group’s humourous sense of themselves. Following two and a half minutes of typically languorous walls of sound, the decidedly non-ghostish voice of vocalist Karen de san Miguel can be heard to ask, “Hey, could you ask Greg, does he always play that quickly? Maybe a little slower would be better…Seems a little fast. Is that just me?” The fact that it’s been left on the finished work automatically renders it ironically amusing and adds a remarkable amount of human warmth to the cascadingly monumental music.
Love Via Paper Planes is a wonderfully immersive document. Rather than feeling like the progress sketches often associated with drone based work, these pieces are fully formed and, combined into an album, create a truly beautiful listening experience.
Adrian Elmer
ERASERS & GHOST OF 29 MEGACYCLES @ THE MOON, SUNDAY MARCH 7
What the herring does one do on a Sunday night? It’s a peculiar time of the week; You’re saying toodle-oo to the weekend, delivering it a jocular slap on the back, saying, with little consolation – “see you in five days!” And then you sit back, twiddle your thumbs and await the inevitable, obnoxious arrival of Monday: it will storm through the door as you snooze, blowing one of those party-hooter things, and sneeringly exclaim “Guess who!”
So Sunday night takes on the characteristic of a sort of desperate, dragging limbo, an uneasy purgatory in which one claws at those last slippery threads of freedom. Unless, of course, something presents itself as a diversion – and thanks to The Moon, the One Trick Pony series on the first Sunday night of each month guarantees a diverting diversion indeed.
The intriguing task of providing a soundtrack to limbo was first passed to ERASERS, who were in fact tonight, just one ERASER, with guitar-and-gadgets man Rupert Thomas giving a solo performance. Caged within an electronic control panel, Thomas established an endless road of rich droning sawtooth synth before gradually releasing onto it any number of retrofuturistic, meandering vehicles. Translucent, slow-motion bicycles chimed their bells of crisp, icy guitar; weaving cars hummed dozens of drifting mechanical reveries, disappearing around corners, encircling the block, and reappearing in precise repetitive patterns. Between segments a voice from some unseen loudspeaker would issue an anonymous address. The whole thing glowed with the aimless, eerie but beautiful languor of suburbia; complimented in sinister fashion by scenes of unsettling cult film ‘Gummo’ projected onto linen on the back wall. Soothing and cinematic, the set took pains to ensure it didn’t suffer from the absence of two band members – if there’s any criticism, it’s the same as of the group as a whole – the sound recalls a touch too closely the influences it channels, and though altogether enjoyable, is yet to carve out a definitive stylistic identity.
The Ghost of 29 Megacycles is proving, from what I can gather, to be a charmingly enigmatic group: the few shows I’ve seen them play have been wildly different, ranging from tech-savvy sound-art to exotic unplugged jams and now tonight, concealed by animal masks, the trio set out to perform none other than the Dirty Dancing Soundtrack. How this decision was reached is beyond me; all I know is that the concept is awesome – the fruition thereof, even better. This is an alternate reality in which Patrick Swayze shares a grubby flat with Kevin Shields, where Jennifer Grey eschews the mountain resort in favour of hazy psychedelic happenings in dark, resounding warehouses. The soundtrack is reimagined via distorted guitar, thick bass, understated garagey drum thump and spatterings of distant vocals, ultimately sounding something like Galaxie 500 but even reverbier. The undeniable highlight is ‘(I’ve Had) The Time Of My Life,’ which transposed into a sedate hurricane of cavernous fuzz ends up sounding like an early 90’s shoegaze classic. It’s worth recording, it was that good.
With a beaming carafe of Moon Goon and two serene but intriguing acts in which to immerse oneself, Sunday night at One Trick Pony certainly proved to be a quality alternative to Sunday night at home, reading the nutritional information on a bag of slivered almonds, or Sunday night trapped in a lift, counting the eyelets on your shoes. Of course, Monday soon came, grabbed me by the ears, gave me a wedgie and threw me out the door, but I was contented in the memory of the preceding evening. The ‘Pony is always worth a ride.
"It's warm, shimmering music, which sort of bends time in the way that only floating waves of glistening ambience can. I sat right between my speakers, immersed in the full frequency spectrum for the whole 26 minutes, letting myself get lost in the gently evolving arc of the record. The 12k/LINE back catalogue is an obvious reference point, which I perhaps wouldn't have mentioned except for Taylor Deupree's mastering credit on the sleeve.
This release sits firmly in the DIY realm, encased in lovely, hand made paper packaging. It's great stuff, and if you stumble across a copy this reviewer urges you to have a listen."
THE GHOST OF 29 MEGACYCLES - LOVE VIA PAPER PLANES (CD by Sound & Fury Records)
So far I counted two and half releases by The Ghost Of 29 Megacycles, a three piece from a land downunder. Karen De San Miguel, Matthew Aitken and Gregory Taw. The latter started the band, but now is a real band. They are a guitar band primarily. A shoegazing guitar band, with a strong influence of Windy & Carl and Stars Of The Lid. Long sustaining sounds are produced the guitars - maybe with the addition of other instruments, but I can not be sure of that. Spacious music, played with the use of looping devices, lots of chorus and reverb - perhaps the latter is over-used here. The guitars no longer tinkle away, like they did on their previous two releases, but sustain on end, with every now and then some wordless singing added to it, the Windy & Carl influence I'd say. 'Dusted', a short piece towards the end uses organ like sounds and no guitars. The final track, the also short 'True Love Will Find You In The End' is the only one in which the singing has words and seems to be breaking away from the first four tracks. Ambient music for space heads (wether or not inhaling substances).
Frans de Waard
http://www.vitalweekly.net/712.html
Since August 2009, New Weird Australia has been broadcasting weekly on Sydney’s FBi Radio – playing two hours of new, experimental and ecelctic Australian music, from over 300 artists to date. NWA also features regular guest performances, playing exclusive in-studio sessions – many of which are previously unreleased. This free download collects together seven of those sessions from Morning Stalker, Cleptoclectics, Scissor Lock, Go Genre Everything, Random Acts Of Elevator Music, Afxjim and The Ghost Of 29 Megacycles.
http://newweirdaustralia.com/2009/12/new-weird-australia-broadcast-one/
