"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. 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)
REVIEW: MARC MCNULTY - 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 'Quatermass' 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 'Quatermass', like standing close a steel factory - but not inside the actual factory itself. Great, evocative music. Another most welcome return, and hopefully for a bit longer this time." (Frans deWaard) - VITAL WEEKLY 879.
Necunoscut, is composed of tiny shards of sound, less than 50 milliseconds each. As the tracks evolve the sounds reach points of attrition, then obliterate one another; this cycle repeats until there is no signal left in the system. All manipulations were chosen by perception, not by algorithms.
"Having used the name Photophobia, his first CD, titled Cathepsin was released on Isomorphic/USA. Reviewers describe
d it as an excellent dark ambient/isolationist work. Marc McNulty, who has worked nearly two years on his new release, describes these new pieces as 'electro/acoustic soundscapes created with elements from our pre-atomic days.' There are no samplers and no computers used for these recordings. The only soundsources have been communication receivers, selfbuilt devices, filters and instruments. Compared to his first release, the pieces are not that extended and droney, but far more subtle and personal. 'McNulty has created a powerful album of dark and strange acoustical elements. Evocative and haunting, a requiem for the post-atomic society - a soundtrack to armaggedon.' -- Frans De Waard/Vital. The first edition of this CD comes in a special metal box that is numbered and limited to 500 copies."
Cathepsin, is an organic compound stored in our bodies for our
death. It serves to breakdown our cells and tissues for the bodies
return to the earth's organic matrix. From birth to closure we are
carriers of its inert state.
The recordings of Cathepsin are inspired by the deconstruction of
organic matter. The works are based on complex modulation schemes that deconstruct themselves into textural forms writhing and decaying as if they are being reduced to carbon ash.
The modulation schemes used include: Intermodulation, which is
multiple laying of ring modulation schemes and free running feedback hubs.The concept of Intermodulation was first described by Karlheinz
Stockhausen in his work, "Telemusik". Cathepsin was realized and recorded at the Laboratory of Hearing by, Marc McNulty. Cathepsin, was released on CD by Isomorphic Records.
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