phonography + electroacoustic music
Live on Rare Frequency
Above Within Below @ Jane Deering Gallery
Green Dream @ Kijidome
Shaping Sound @ Woods Hole Oceanographic Institute
Live @ Cafe Fixe
Illuminus w/ Kevin Clancy
de concertzender.nl - channels of listening: radiophonics and more...
framework radio - phonography :field recording : the art of sound-hunting
radius - experimental radio broadcast platform located in chicago
soundfjord - a nomadic space dedicated to art that is curious of ear
vital weekly - experimental music reviews and news from Frans de Waard and friends
substrat radio with Martin Howse
micro_research - Hartin Howse exploring psychogeophysics, asking questions.
ernst karel - electroacoustic music and experimental nonfiction sound works
rare frequency - radio show, website devoted to unusual musics, hosted by Susanna Bolle.
phonography.org - dedicated to the art of phonography, or field recordings
audiomulch - software for live performance, audio processing,
sound design and music composition by Ross Bencina.
lines - a place for discussion about sound, process, and technology.
Were the Barrons, of Forbidden Planet soundtrack fame, still alive and working today, they might very well sound like Marc McNulty, the musician and sound artist whose explorations of small sonic spaces result in squiggling effects that suggest an otherworldly aura. His is a characteristically internecine journey through microscopic dank pockets of slomo whirligigs, melting tonal affect, and tantalizing garbles. Which is to say, it sounds both like a modern use of digital audio tools to explore audio objects, and like the special effects from an ancient science fiction film. Tomorrow's music is yesteryear's foley sounds. - Marc Weidenbaum (disquiet.com)
In Cell Survival
There are three long pieces on this CD, totaling close to an hour. What goes into the chain of signal processing is a bit unclear, but these might perhaps be field recordings. It then is locked into a chain of generative events, slowly changing shape, color and dimension. Although it's hardly 'autopilot' music - it's not an excerpt of an ever lasting, always changing algorithm, but composed by a human, for the time needed. Styllistically McNulty stays close to his older musical principles, that of the highly atmospheric music. In 'Quartermass' this is quite deep, going back to his earliest work, but in 'Brisance' and 'Backscatter' it all seems a bit more reduced, and especially 'Backscatter' reminded me of the current music of Asmus Tietchens, especially if drones et all are reduced further more and high end bleeps and ticks remain. Excellent stuff, with a fine, dramatic build up, come down and moving along barren ice fields and hot deserts. Ambient industrial music in that 'Quartermass', like standing close to a steel factory - but not inside the actual factory itself. Great, evocative music. (Frans de Waard, Vital Weekly
works on this site composed + recorded by marc mcnulty | contact: email@example.com