Sitting in front of a bank of pedals and effects and a laptop, Toronto-based multi-instrumentalist Nick Storring got comfortable, reached for his cello and set about building and layering a series of loops into a composition. The first track built ever so gradually, with the addition of some distorted, sampled vocals, that you almost didn't see it creeping into the huge sound it became at its peak. Storring explained that the set was improvised, and even he didn't know what he would do next.
For the second track, Storring put down his cello and picked up a kalimba as his initial sample source for loops this time. Using a series of tuning reeds, the track that emerged sounded not unlike a stoned State River Widening. The final composition began with some almost acid-y chirping electronics, sounding almost like sparrows imitating a Roland 303. Storring added to the track with some beat boxing, driving it in a steady climb into a techno- and hip-hop-influenced groove.
It was a pleasure to see a musician so willing and capable of putting himself out there on the improvisation tip, incorporating so many styles and resulting in something so well put together and unique. And knowing he put everything together on the fly only added to the thrill.
For the second track, Storring put down his cello and picked up a kalimba as his initial sample source for loops this time. Using a series of tuning reeds, the track that emerged sounded not unlike a stoned State River Widening. The final composition began with some almost acid-y chirping electronics, sounding almost like sparrows imitating a Roland 303. Storring added to the track with some beat boxing, driving it in a steady climb into a techno- and hip-hop-influenced groove.
It was a pleasure to see a musician so willing and capable of putting himself out there on the improvisation tip, incorporating so many styles and resulting in something so well put together and unique. And knowing he put everything together on the fly only added to the thrill.