press2 Name: Thomas Mullarney

Location: Brooklyn NY

Education: Pursuing BFA in Sculpture at Pratt Institute

Subject: Musical endeavor under moniker Beacon


Favorite Songs on His Playlist:

Quarantined – Atlas Sound My Red Hot Car – Squarepusher RobertaFlack (feat. Dolly) – Flying Lotus Archangel –Burial Skeng –The Bug PWSteal.Ldpinch.D – Aphex Twin Way More –Diplo From Off to On – The Knife Les Enfants Terribles: The Bedroom – Phillip Glass Over the Ice – The Field


What do you try to accomplish with your sound?

There’s this scene from the Werner Herzog film “Encounters at the End of the World” where the scientists studying seals in Antarctica lay down on the ice, put their ears to the ground, and listen to these strange inorganic sounds that the seals produce. Later, Herzog interviews one of the scientists who says something about how strange it is that a mammal can produce these beautiful calls that sound so unnatural…

That’s what excites me about electronic music…

Those scientists lying down on the ice at the end of the world are a beautiful, if not somewhat quixotic metaphor for what I try to accomplish with sound.

Peep Beacon’s song Love Roller Coaster below, continue reading by following the Read More link.

Thomas Mullarney extends his artistic focus beyond the sculpture studio at his alma mater, Pratt Institute, to the recording studio. His highly experimental use of vox and Pratt recording tools in Logic 8 and Modular Synthesis on a STS/Modcan machine produces a unique blend of wave-like plunges into the aquatic realm of sound.
Mullarney takes inspiration from 90’s Warp releases, sweeping saw-waves of royksopp, and laments upon unrequited love to produce the minimal nature of Beacon. And for the album artwork? Well, that was drawn from the time he spent around a manikin in his sculpture studio…and a more human friend Ryan.

Does your music initiative carry over into other disciplines? I sometimes try to make an argument to myself for the similarities between my two major practices, electronic music and sculpture, but most of the time I conclude the two are very separate. They deal with some similar issues, bright colors, dream states and digital landscapes, but the way I go about making work in either arena is very different. In fear of oversimplifying, making sculpture can be much more cerebral, while music is more sensual. I am working at bringing them closer.

Fussing with an individual sound, trying out new things in long, late-night sessions seems an appropriate way to play with the colorful range of electric sound. His pieces usually take shape through bursts of energy that brings him to incorporate layers to the point of over-saturation, where he then forces himself to step away. Though he usually composes in solitude, the collective of Beacon is collaborative.


With Beacon I wanted to set up a platform where I could ask the artists I surround myself with to contribute an element to the project such as design, music videos and remixes. For me, it’s extremely gratifying to see my songs, which are created almost entirely in solitude, become a collective project, with individual aesthetics under a blanket theme. My friends are great artists and I love taking advantage of what they do.


Beacon’s sound has remained largely consistent since it’s inception almost 2 years ago. One of Mullarney’s earliest songs “1,000 ft. Thick” gives insight into  the first movements of his Beacon musical identity. In his later songs on “All Your Suitors”, like “Love Roller Coaster” or “If I Get Caught” you witness a more deliberate narrative. The composition is more refined and consistent, one that eludes to a story, a happenstance, or simply remembrances of days past.
You can access his music for free in the music section of his website, Commerical Cloud Seeding. To hear more recent work and previews of coming songs, view Beacon’s MySpace here. Also available on iTunes and Amazon.

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