In Cell Survival, is a collection of sound works that originated as multi-channel sound installations created with microscopic sounds. The 3 pieces were created and recorded between 2011 - 2012. They were remastered for stereo and published on CD in 2013 by, Earphone.org
"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 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.
- Year Created: 2013
- Submitted to ArtBase: Monday Sep 9th, 2013
- Original Url: http://www.marcmcnulty.com/
- marcmcnulty, primary creator
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"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)