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update: jun.08 : sound & science art of: marc mcnulty

+ projects:

| "sonophy 14", (mp3 or ogg) cellular data complexion (jun08)

    | "punkt", (mp3 or ogg) test in rate-distortion theory (jun08)

        | "sputnik 50", (mp3 or ogg) on beat research lab, vol. 1, CD (may08)

            | live on rare frequency performing "fuselage vibration" (6mar08): (mp3 or ogg)

                | sound work on audiotong (karkow, poland) entitled, minumism

                    | zugzeit (sound + video) 7.5mb

                        | sound art = art sound: artsound.org

                            | worldwide streaming sound art project: locusonus.org (fr)

                                | live on rare frequency performing "going blind" (2aug07): mp3 or ogg

                                    | live @ swieta krowa in krakow, poland: mp3 or ogg

                                        | live @ sQuareone studio: mp3 or ogg

                                            | live set on rare frequency (26oct06): podcast

+ contact: sound@earphone.org


+ info:

| from vital weekly 587 by franz de waard:

MARC MCNULTY - CODE INCONNU (CDR by Earphone)
MARC MCNULTY - LE L'EGENDE D'EER [DIATOPE]] (CDR by Earphone)
Now it's official: Marc McNulty is back. About a decade ago his name came up with various releases, then he moved out of sight for a while but now he's back. These two releases on his own Earphone label are very very recent recordings. 'Code Inconnu' was 'recorded July 2007', which it still is as we write. 'Code Inconnu' deals with recordings made in Montreal and on the bridges in Boston. There is are people talking and whatever field recordings can be made on a bridge. There are similarities between this and John Hudak's 'Brooklyn Bridge' or even better the CD by Tom Hall: McNulty plays shorter pieces than Hudak, but some of the drone related material is more like Hudak than Hall's sometimes technoid rhythm pieces. He reworks the material in good electro-acoustic fashion, which musicwise was not too far from some of the recent material by Asmus Tietchens. Good sturdy work going on here, and not rhythmic as on his previous 'Asymetric Error Propagation' (see Vital Weekly 582). Quite powerful stuff, certainly not academic, but perhaps that's what I like about this kind of acousmatic music.
In 'Le L'egende d'eer [Diatope], McNulty does a 'recontextualisation' of Iannis Xenakis piece which was originally for '8 tracks of independent tapes an to be performed/played within an existing piece of architecture'. Here the space are the ears of the listeners. I am not sure if McNulty uses the same sounds as Xenakis, but somehow I think so, but perhaps he's also feeds them through his own fine blend of processing devices. There are eight voices to be detected in this work, which sort of move forward in a linear fashion. (FdW)

| from vital weekly 549 by franz de waard:

MARC MCNULTY - FARADAY CAGE (CDR by Earphone)
MARC MCNULTY - NEURONTIN (CDR by Earphone)
Vital Weekly 138: that is how far back we had to search for a review of music by Marc McNulty. If you would have asked before hearing these new works, how did the old McNulty sound, I would perhaps describe something that is not too dissimilar from the two recent releases. I have no idea what McNulty has been doing in the long gap, but apparently he has been involved in producing sound installations in galleries around the world and played support act for Raster-noton artists. McNulty has moved from the older analogue works into using self-designed software tools, to create his overall mood related atmospherical music. His input consists of shortwave radio transmissions and field recordings, which are filtered in a pretty nice way into lengthy chunks of atmospherics. Even when the press text talks about industrial, techno and minimalism, but surely ambient is the best place for this music. There are differences to be noted between the two releases. 'Faraday Cage' sounds more electronic and has lengthier tracks, whereas the seven pieces of 'Neurontin' are much shorter and seems to be built largely on field recordings: birds, people walking and street sounds. I preferred 'Neurontin' over 'Faraday Cage', since the latter sounded good but walked a bit too much in familiar territory for me, whereas the first had a pretty exciting processing of field recordings, and McNulty proofs to be one of the more interesting composers of microsound. (FdW)

+ plate lunch music

+ online audio archive of tiln [digital audio diffusion]
musique concréte, musique électronique, Elektronische Musik, Electronic Music, électroacoustique, electroacústica, Electroacoustic Music, acousmatique, musique pour bande, Tape Music, Tonbandmusik, Computer Music, Digital Music, cinéma pour l'oreille, Cinema for the Ear, art des sons fixés, Organized Sound, art audio, Audio Art, bruitisme, rumore, Noise, Electronica, IDM, lowercase sound, microsons, microsuoni, Microsound, xenakis, iannis xenakis, pierre henry
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