Yeah, yeah, I know. Gardens is still technically in pre-order over at Scissor Tail, and I’m already talking about my next album. Maybe I just feel weird because my last solo thing came out in 2011.
The thing is though, I’m really excited to play this show and about this release.
First the show—it’s the first time I’m playing a solo set in Ratio (the space I co-run with six other amazing people) but perhaps more notably I’m in really excellent company. Musically, I’m sharing the evening with two phenomenal musicians. Michael Keith is perhaps the brightest glimmer of hope for the ukelele (at least that I can think of), applying strategies culled from various folk and classical traditions to the instrument creating, open and copiously melodic improvisations. Keith has long been a part of Toronto’s music scene recording with noted artists in folk, blues, rock and free improvisation.
Craig Dunsmuir who’s created a vast minimalistic yet varied body of work under various monikers including Kanada 70, Guitarkestra, Max Gross, and with Sandro Perri as Glissandro 70, will be presenting some new work of his that night.
The evening will also feature a screening of Mikel Guillen’s short film The Natural State based around the nihilistic writing of U.G. Krishnamurti. The soundtrack of said film closes out Endless Conjecture.
Endless Conjecture the album, like Gardens, consciously avoids electronic processing in favour of stacking various instruments (all played by me) using multi-tracking to create large ensembles that you likely wouldn’t encounter in the wild. Unlike Gardens, this release was brought together from different sources yet still manages cohesion through its exploration of more dissonant, fricative and even raucous territory (not to mention more playful aspects too). I’m beyond grateful for the support of Seth Graham and Keith Rankin whose excellent Orange Milk label has released work for some of the most interesting musicians active today—Sean McCann, Ashley Paul, Christopher Merritt (AKA Sebastian Wolfe) and let’s not forget their own work under Graham’s own name and Giant Claw respectively.
Opening with a brief mysterious piece created during the work on Gardens, it immediately transitions into the nearly 19-minute “Terminal Burrowing” which was commissioned for Montréal’s 2013 AKOUSMA Festival, and accordingly has shades of music concrète, despite it lack of computer processing. While predominately instrumental it does also employs spring reverb and contact speakers to create electromechanical (amplified acoustic) resonance effects. “Dewclaws” is easily the liveliest moment between the two albums combined with its brisk percussion-driven pile-ups. The album finishes with the 13 1/2 minute “They Carry Light” the albums most sombre and melodic piece which also explores intuitive/ accidental alternate tunings.
Here’s the info about the show:
16 December 2014
NICK STORRING — Endless Conjecture album release
CRAIG DUNSMUIR – a rare Live PA set
MICHAEL KEITH – solo baritone ukelele
+ screening of Mikel Guillen’s THE NATURAL STATE
at RATIO, 283 College St. (2nd floor), Toronto
doors at 8PM, cover $8