“The sheer ambition Storring demonstrates through painstakingly composing and arranging this work is commendable on its own. That the ultimate result is so utterly gorgeous is almost beyond words. 9/10“ -Bryon Hayes, Exclaim! (on Gardens)
“delicate yet crisp, trippy yet grounded, hypnotizing yet never repetitive, and (perhaps most importantly) never so beholden to concept that it loses its fundamental girth as a composition” —Grant Purdum, Tiny Mix Tapes (on Gardens)
“Storring has created something special here, and he can be happily included in the list of young, emergent composers that give all “back in my day…” naysayers pause for thought. Whenever you’ve got time to get lost in your mind for a good while, put some headphones on, close your eyes, and enter these Gardens” – David Murietta, A Closer Listen, (on Gardens)
Endless Conjecture #5 on the Top 25 releases of 2014 — Words on Sounds Podcast
“This music comes in moments, it comes in waves–like memories. And each time the strings kick in, I found it very emotional, I just had these heart-swelling moments, chest-flooding moments of wonderful music and feeling.” – Laurie Brown, CBC’s the Signal (on remember how we used…? for string orchestra)
“… seamlessly mutates between forms. … Gardens appears to be a killer example of an artist pushing the boundaries of ambient music.” Damon Hastings, the Boston Hassle (on Gardens)
“Electro-acoustic experimentalist Nick Storring coaxed a mini-symphony out of his cello, laptop and tableful of pedals, layering electronics and strings until they swelled into blurry compositions of past and future sounds. NNNN” -Richard Trapunski, NOW Magazine, on concert with Mark Templeton and Doc Dunn.
“The remaining work, for strings alone, was Nick Storring’s remember how we used to…? (2004). This passed in a series of exhalations of varying texture: glassy and long-bowed, dry and plucked, fluttering with tremolo. A fragment of harmonized tune appeared, then was dropped, then appeared again, like the recollection of a film once seen and only half-remembered. It was a good piece, from a young composer who deserved the $5,000 Canadian Music Centre Emerging Toronto Composer Award he received after intermission.” Robert Everett-Green, The Globe And Mail, May 16, 2011.
“Storring is on the righteous path. His statement is complete and to my ears falls somewhere between Pierre Henry’s Variations for a Door and a Sigh and some the stifled digital flourishes I’ve heard Christian Fennesz muster with his sinewy chops. I don’t mind calling this a contemporary classic, not at all.” – Andrew Zukerman, Offerings, on rife (Entr’acte)
“Rife is a great little find. It is music that really feels like it doesn’t care less about the trappings of modern day genre pigeonholing and is quite happy to go about its own way, following its own course, often exploding with possibility and energy without caring about such things as restraint or moody aesthetics.” -Richard Pinnell, The Watchful Ear, on rife (Entr’acte)
“Senesce uses the strings to produce sounds that sound electronic, not eerie but ethereal, almost cradling the listener.” –Joe Lella, the Beat Magazine, on my quartet senesce performed by the Madawaska String Quartet
Kurt Gottschalk on Gardens in Musicworks Magazine.
Gardens mentioned in Damon Hastings’ ‘Five heady experimental albums’ (Year-Enders 2014) in Boston Hassle.
Tristan Bath at the Quietus cites I HAVE EATEN THE CITY’s Secret Paths as one of the top cassette releases of 2014
Interview for Long Winter’s 7″ Series in January 2015.
Damon Hastings reviews Endless Conjecture for Boston Hassle.
David Murrieta on Endless Conjecture in a closer listen.
Brian Olewnick’s Just Outside muses on Gardens and Endless Conjecture.
David Olds in The Whole Note discussing Gardens
Jake Tobin on Endless Conjecture in Decoder Magazine.
Joshua Pickard in The Nooga’s Tape Deck column takes on Endless Conjecture.
ATTN : Magazine reviews Gardens
Bort conjectures endlessly on Tiny Mix Tapes’ Chocolate Grinder about Endless Conjecture
Concert review on Live in Limbo’s site — Gardens release show at the Garrison opening for Ben Frost.
An interview for concert presenter Wavelength’s site for my Gardens release concert
A radio interview with Sound It Out on CFRU 93.3FM (Guelph)
A German review of Gardens on the site Das Klienicum
Blouin Artinfo article about my recent practice the première of Terminal Burrowing at the AKOUSMA Festival, October 2013
An article on Wilfrid Laurier University’s website about my work. By Sunil Kuruvilla, February 2012.
An article by David Dacks for the Studiofeed blog which mentions my work as Piège, Sept. 2011
Video interview on Studiofeed with clips of my album rife, Sept. 2011
Video interview with live-performance segments on Exclaim TV!, Sept. 2011
Interview in Spontaneous Combustion Magazine, Sept. 2011 (be warned – very large PDF ahead!)
Review of I Have Eaten The City in concert with Khôra, Nick Kuepfer and Silent Land Time Machine, in Exclaim! June 2011
Article in Wilfrid Laurier University’s The Cord about my receiving the Canadian Music Centre’s Toronto Emerging Composers’ Award, May 2011.
An interview with Wavelength Toronto in 2010
A review of Cellodramatic, an improvised concert I gave with Anne Bourne, Matthew Brubeck, Paul Pulford and percussionist Germaine Liu, Nov. 2008
A review of I Have Eaten The City’s collaboration with Barnyard Drama, I Have Eaten The Barnyard Drama opening for Koenji Hyakkei at the Horseshoe, in May 2007
A review of I Have Eaten The City’s first eponymous album, Feb. 2006