Navona Records’ release of Torrid Nature Scenes
Posted on December 1, 2014
babysue (online), June 2013, LMNOP
“If you’re only interested in hearing the safe and familiar sounds of the great masters of centuries past… Torrid Nature Scenes will probably be a bit too strange for you.”
Nicholas Vines is a composer of a different sort whose music lies somewhere in the area where classical meets experimental and modern classical. Although very different in overall sound, some of the ideas on this album remind us of Frank Zappa’s 200 Motels. These compositions are unpredictable and, for the most part, peculiar.”
“This bizarre listening experience is recommended for classical fans wanting something a bit more exotic and adventurous. Very cool.”
Audiophile Audition (online), 28 June 2013, Daniel Coombs
“(Vines’) music is wildly creative and entertaining. It may take a listen or two to begin to get into his offerings but, ultimately, they are vivid, cheeky, sometimes amusing and always unique.”
“This album gives us a good introduction to his unique vision… a highly entertaining and rather wild ride…”
Torrid Nature Scene is nearly indescribable but a lot of fun to listen to… suitably exotic in places and nearly nightmarish in others… the total effect is compelling, nearly surreal.”
“… a wildly creative vision of a new type of ‘classical’ music that is not afraid to echo jazz improvisation, elements of an older formalism and just about “anything goes.” I think this does require some careful, patient listening but you will be at least impressed with the impulsive creativity and sound painting.”
Anearful (online), 10 August 2013, Jeremy Shatan
“… In July 2010, I heard a fascinating work by Australian composer Nicholas Vines called Economy Of Wax…”
“… Now for those of you who see Schoenberg’s forbidding and humourless face when you hear the words “contemporary classical,” relax. Vines is anything but humourless…”
“… The Butcher Of Brisbane shows its hilarious, if unsettling, hand early on… Overall, the 22 minute piece is a fast moving delight with enough twists and turns to keep a listener on their toes…”
“…[Economy of Wax is] a blazing little piece, a remarkable coming together of the worlds of science and music, and the lives of humans and apians. Here’s hoping The Origin Cycle gets a full New York City premiere one of these days…”
“… The dynamics of the different movements and the interaction between the two singers gives Torrid Nature Scene a distinct theatrical flavor. This is obviously an area of interest for Vines, and one at which he excels. His lively imagination, mastery of scoring for a variety of instruments, and structural gravitas all make him well suited to telling stories through music…”
Limelight Magazine, 26 September 2013, Ilario Colli
“… surprisingly good – damn good, in fact.”
“All three works are rich in atmospheric soundscapes, gestural impact, complex rhythmic overlaying, and fresh thematic ideas. Particularly impressive is the album’s title work,
Torrid Nature Scene… [which] captivates from beginning to end, bathing us in ever-evolving textures, and steering us through a series of lush, mystical and sweeping soundworlds.”
“I would dare to call [Vines] one of the most promising Australian composers of his generation… In the words Mozart uttered when he allegedly heard a young Beethoven play, “Remember this boy’s name.””
Kathodik (online), 28 December 2013, Philip Focosi
“… hot complexity… [expressive] not only of musical structure, but also of life itself…”
“… telluric and labyrinthine: a real lava-flow of mixed emotions.”
Judith Weir, Master of the Queen’s Music, quoted in Limelight Magazine, December 2014
“… – recommended!”