Nick Pike – Norastoria [Album Review]

I genuinely have a soft spot for classical music and all of its associated genres, even if one crosses through other genres within the domain of classical music. I try to make my biases towards it quite apparent in acknowledging it and making sure that it doesn’t hinder me from interpreting music of other genres, but I can’t quite hide the profound reaction it gives me. Sometimes it truly feels like classical music tugs at your neurons to make you feel emotions and techniques that are not usually discussed or even described, taking you into a world that is fully immersive and complete with nuance and depth. It truly sucks me in, in a great way. As a result, I find a lot of contemporary classical releases the crème de la crème– all the past classical movements, as much as they formed the strong foundation of the genre, passed and blazed the trail for new and innovative contemporary classical movements. Think of music from composers such as Joseph Schwantner or even Iannis Xenakis. Today’s release is no exception to the metaphorical iceberg of classical music.

The album in question is ‘Norastoria’ by Nick Pike. Nick Pike is a producer, multi-instrumentalist as well as an educator based in London. He has also composed award-winning piano pieces, described as ‘beautiful’ as well as ‘accessible’. What also sets him apart is his odd forage into jazz harmonies as well as funk piano, infused into his body of work. Not only is that impressive, he has also written for film, TV, theatre and concert hall audiences, as well as podcasts and audiobooks. His produced music has also been used all over the world.

He mentions his formative influences in classical music: Beethoven, Debussy and Einaudi. However, beyond the formalism of these three composers, with Einaudi being the most experimental of the three mentioned, Nick also ended up gravitating towards jazz and funk piano. The neural correlates of playing classical music and jazz music do differ, but combining both influences in one’s artistic repertoire is sure to result in a high capacity for versatility. He has also played in a variety of ensembles and styles, adding on to his capacity to musically ‘shapeshift’.

This wide range of experiences as well as preferences combine and culminate in ‘Norastoria‘ itself. Self-described as a ‘return to the fold with with a look at the neo-classical genre through the lens of a hobbled funk pianist’, the pieces in the album were initially composed to assist students in learning specific piano techniques before orchestrating them into a final, grander piece. In fact, this entire album does sound pretty grand and furnished with interesting nuances. Let’s get into it.

The first track, ‘Norastoria‘, starts off with a slight tremolo effect before embarking on a contemplative yet decisive piano sequence. The sounds in the background give it more of an existential feel, as the strings enter and pull you through a journey of sounds reminiscent of a journey- one that is taken, yet finished at the same time. The tone of the song has a large amount of emotional depth in it. The oscillatory nature of the piano creates a rhythm throughout the song that carries the same contemplative nature to it, while the strings reach emotional peaks and even an apex through its instrumentation. It puts me through a mental journey that reminds me of the strength of subtlety. I love the sequence of the strings at the mark of 2:11, as the ongoing notes transform into a complete tapestry of sound- both minor and major. The kicks in the song are also very subtle, but amplify the determined undertone of the song. It is very pleasantly composed, and I can definitely also hear the influence of jazz in the choice of notes during the piano sequence. A great start to the album.

The second track, ‘Perihelion‘, starts off with more vulnerability than the previous track. The piano sequence in this track reminds me of forgotten youth, or even memories that are hard to access- the obvious noise in the background also helps to accentuate the feeling. The strings in this song slowly build up, with twinkles of slight auditory innocence, and almost a pseudo-funk clavichord in the background. As the song develops, the strings put you in the mind of a sequence of mental anguish, mixed with feelings of determination and resolution. I like the technique of the strings at the mark of 1:33, it sounds extremely poignant and the chords and effects in the background help to give the song an existentially ‘transient’ feel. As the strings build up with a hit, the emotional apex of the song springs unto you. There is definitely a form of call-and-response going on with segments of the strings within this song, that help to accentuate the emotional melody of the song. At some points, I feel like it almost adopts a very interesting scale with the choice of the notes. The ‘hits’ and the progression of the track definitely provide the listener with a buildup and a result, adding motivic variability. I simply have to say, this song is quite powerful. The layers of strings, with the layers of piano, mixed with the format of the composition, leads to a very significant feeling.

The third track, ‘Aphelion‘, starts off with notes that remind me of mystery and possibility. In fact, in a strange means of connection, it reminds me of the orchestral theme song that plays in the background of ‘Create-A-Sim’ from the Sims 4. The kick and the sprinkles of sound, I assume to sound similar to a glockenspiel, help to provide suspense as well as inspiration to the underlying soundscape of possibility. After a shimmering sound effect, the motif from the strings grow louder and more significant in its presentation, with a subversive instrumentation in the background complementing it. This track to me, also bears a lot of similarity in melodic intent to that of the instrumentation lying behind most of Oppenheimer. The notes chosen by the strings simply put you through a journey similar to that of an emotional rollercoaster. Around the mark at 2:40, the strings sound as if they are yearning for their voice to be held- before going back to the same thematic scheme of the track, a holistic track chronicling possibility with determination. This is one of my personal favourites from this track. It seems a little more simplistic than the previous track, but the innovative motifs chosen and repeated throughout the track give it a lot of musical depth and keeps the listener begging for more.

‘Helionus‘ starts off with a completely different feel. It reminds me of how refreshing the Windows 98 startup track sounds like. It’s like as if the notes poured water on your head to cleanse your brain from the how emotionally jarring the previous tracks were (not like that was a bad thing at all). The introductory piano notes are extremely inviting and friendly. I can hear airy vocals forming the harmonies in the background before it erupts into a 90s ballad-style groove, in terms of the relationship between the piano and the drums. The strings, as usual, take the song and put it to a different dimension. This song almost sounds ‘angelic’, in a way. I can also hear the infusion of jazz, mostly soft jazz and easy listening, through the saxophone and the type of notes the saxophone is feeling. This song is extremely dreamy, and ethereal in its composition. It also has slight tweaks in terms of the emotional peak and lows of the song, which definitely does not make the listening experience boring at all. Towards the mark at 2:42, the slight tone and note changes give the song a different feel, veering more into a sound of mysticism and slight darkness. It then pulls back, and goes into a sequence that is reminiscent of soul and determination. As the same tone of instrumentation resonates, and grows into a grander, more power-packed sequence, I can feel my head almost tingling. This song takes you exactly through the sequence it intended to convey.

‘Apsis’ definitely amps up the motifs of mystery and magic that was slightly sprinkled in the rest of the album, taking it into a entire composition that encapsulates all that it possibly can. The introductory strings grow, as if they were in a crescendo, before descending into a harp-like sequence that makes you think of being stuck in a cave and looking out for the answers. It is dark, but it also has a tinge of innocence to it delivered through the glockenspiel-like sounds and the twinkly nature of it. As most of the compositions on the album do, it accumulates and reaches an emotional peak- this time, through the interaction between the strings and the bass. The deepness of the bass adds on to the tone of ‘mystery’. As this sequence ends, the notes chosen in the instrumentation remind me of as if a person was overwhelmed by finding out the complexity of truth. As the strings go faster, and speed up, it also reminds me of the score of Oppenheimer again- as if the nodes of truth were finally connecting. A quaint song.

‘Daedalus’ starts off with a harpsichord and a piano sequence. The combination of the two leads to a very strange but pleasant sound, as the harpsichord provides the piece with a form of regality but the tone of the piano gives off the sound of earnest melancholy. I can hear the use of kicks brilliantly used throughout this track, in a particular syncopation. It adds mystery, anticipation as well as the feel of going through a ‘game’ throughout the track. The way the notes of the strings also constantly glide makes you feel as if you are on an emotional rollercoaster. There are also tones of glory and finality throughout the stringed-instrumentation of the track. I would say, the piano in this track actually stands out the most instead of the strings. The manner in which it is played is highly competent, and I am quite biased to prefer the addition of a harpsichord in this. I also enjoy the slight ‘percussive’ nature of the instrumentation towards the end with non-percussive instruments. It almost sounds like a more upbeat version of Benjamin Clementine’s works on ‘I Tell A Fly’. Quite a profound track, I could definitely see this one being used as the background for a movie- not to mention, the funk like accents throughout the end of the track. Truly multidisciplinary!

‘Voluratura’ starts off with similar melodic motifs as previous tracks, but builds upon the feelings of sorrow and determination itself. It is very tender and determined in its composition, with more emotional depth growing as the deeper notes of the piano wraps the tracks. Similar techniques of using the kick to create anticipation are used here, and the notes of the string almost follow that of a hijaz style in certain aspects of its instrumentation. It reaches an emotional apex, as with most of the tracks in this album, and it is definitely very hard hitting. I love the relationship between the kicks, pauses and the piano in this particular track. The bass also supplementing the melody of the strings at certain segments definitely do give it a profound feeling. It does remind me of a previous track, titled ‘Aphelion’, but with more piano improvisation and a jazz influence within this song. It is quite interesting in how it also displays multidisiciplinary tendencies.

‘Hirulau’ starts off with a strong Satie and Debussy influence to me. It is very apparent in the pause between the notes, and also the way the notes are played. I like the melodic relatability as it re-enacts certain feelings that these two composers give me- pause in isolation, and a simplicity in appreciating how silence can give a piece character as well. As the track furthers, it gets supplemented and the emotional tone gets changed with the addition of the string components- the cello part definitely gives it a depth, while the violins give it a feel of unsolved desire. It is passionate in its delivery, but also very cinematic. This track definitely has the most heartfelt melancholy wrapped up in a desire to tell, musically. The addition of slight tambourine sounds also help to give the song a percussive ‘sparkle’, instead of solely relying on the kick. I also find it interesting how the melody turns slightly subversive towards the mark at 2:40. It closes off very perfectly, ending on the same tone it started with.

‘Sarah’s Theme‘ begins with resolute determination and anticipation, with the buildup of the sound. It is extremely tender, especially with the piano component in this song. It also has components of going through a ‘journey’ with someone, as if it was meant to inspire you. There definitely are some interesting quirks with the instrumentation of the song, such as the tone changes and the direction in which the song goes through, but I must admit, with too similar of techniques from the previous tracks, I can’t really find much excitation in this track. However, what it lacks in excitation, it will rope you back in with a build-up of the determined arc in this song throughout the strings and the piano. I like how this track was also melodically and rhythmically executed. It does sound fairly generic at some instances, but the artist manages to turn it into a unique piece with accentuated techniques.

Lastly, ‘Vicki’s Theme’ closes off the album with a form of sad resolution. Strings caress this track into building up a soundscape, once again, before going back to same isolated melodic motif. More strings emerge in the midst of the song, turning it into a tapestry of solid emotions and feelings of yearning. I think this is a highly poignant and sad track, but it gives the listener utter bliss in how delicate it sounds. Even at that, the delicate nature of the song is balanced with once again, tinges of directional notes and euphoric bliss given from the timbre and syncopation of the strings. I think this is the best track chosen to wrap this whole album up, given its thematic flow of ‘completeness’.

All in all, ‘Norastoria‘ is an album that I would definitely describe as an auditory storybook. It definitely gave me the feeling of each track encapsulating a story that immersed me in, with each instrument and compositional quirk giving the extra edge to make the listener indulge in the soundscape that Nick Pike has constructed. It surely has enough musical variability and cutting-edge instrumentation techniques to keep the listener satisfied, although it almost lost me towards the very end, it strategically saved me back with the high of the end note (the last track). Even in terms of thematic composition, each track is very smartly placed to tell a whole story. This isn’t an album, this is a craft. A piece of art. I felt every inch of what was intended to convey.

Rating/Outstanding – ‘Norastoria’ is a highly compelling piece of work that follows the trend of neoclassical musicians pushing the boundaries of what already exists with classical music, merging the formalisms of classical music with techniques from other genres. It oscillates between innovation, and almost cinematic-esque at certain aspects of the album. It is definitely a work to behold.

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