Patrick Shiroishi & Daniel Wyche
The Oldest House In The World
Micro-dosed, slowly unfurling, panoramic visions of Americana by LA’s Shiroishi and Chicago’s Daniel Wyche, nodding to the deep listening works of Pauline Oliveros and careful minimalism of Michael Pisaro in a beautifully time-slipping durational work for Longform Editions
“This music is the second set of recordings Patrick and I have ever done, and it is not a coincidence that this is also the second time we've ever hung out in person. I encountered Patrick’s music through the web of mutual friends and connections, but I think it was primarily through Gabriel Vanlandingham-Dunn that I was inspired to really take a deep and focused listen around 2018. In 2019, I was taking a trip to LA to visit my sister and Patrick and I got in touch and made plans to do some recording as a trio with the percussionist Ted Byrnes. That session had a kind of energy of the time: it was loud, hard, intense, noisey, and chaotic. It was how we were feeling then, that day at least, and with the first note everything was just pure communication. In the time since then, we've collaborated remotely, mostly through the Quarantine Concerts, a series I helped found in March 2020.
But with a few years between us, everything is a bit different, everyone in a new headspace and both of us were thinking to try something different. This time, it felt intuitively right to approach this next session with gentleness, patience, care, and maybe even a sort of kindness. So in October 2022, we did what we did the last time we met: made music. And as I said, the intuitions were, for me anyway, just the same, even as the content was different. There was a quiet care right there from the first sounds, and it all just waded into this wash, and here we are.”
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Micro-dosed, slowly unfurling, panoramic visions of Americana by LA’s Shiroishi and Chicago’s Daniel Wyche, nodding to the deep listening works of Pauline Oliveros and careful minimalism of Michael Pisaro in a beautifully time-slipping durational work for Longform Editions
“This music is the second set of recordings Patrick and I have ever done, and it is not a coincidence that this is also the second time we've ever hung out in person. I encountered Patrick’s music through the web of mutual friends and connections, but I think it was primarily through Gabriel Vanlandingham-Dunn that I was inspired to really take a deep and focused listen around 2018. In 2019, I was taking a trip to LA to visit my sister and Patrick and I got in touch and made plans to do some recording as a trio with the percussionist Ted Byrnes. That session had a kind of energy of the time: it was loud, hard, intense, noisey, and chaotic. It was how we were feeling then, that day at least, and with the first note everything was just pure communication. In the time since then, we've collaborated remotely, mostly through the Quarantine Concerts, a series I helped found in March 2020.
But with a few years between us, everything is a bit different, everyone in a new headspace and both of us were thinking to try something different. This time, it felt intuitively right to approach this next session with gentleness, patience, care, and maybe even a sort of kindness. So in October 2022, we did what we did the last time we met: made music. And as I said, the intuitions were, for me anyway, just the same, even as the content was different. There was a quiet care right there from the first sounds, and it all just waded into this wash, and here we are.”
Micro-dosed, slowly unfurling, panoramic visions of Americana by LA’s Shiroishi and Chicago’s Daniel Wyche, nodding to the deep listening works of Pauline Oliveros and careful minimalism of Michael Pisaro in a beautifully time-slipping durational work for Longform Editions
“This music is the second set of recordings Patrick and I have ever done, and it is not a coincidence that this is also the second time we've ever hung out in person. I encountered Patrick’s music through the web of mutual friends and connections, but I think it was primarily through Gabriel Vanlandingham-Dunn that I was inspired to really take a deep and focused listen around 2018. In 2019, I was taking a trip to LA to visit my sister and Patrick and I got in touch and made plans to do some recording as a trio with the percussionist Ted Byrnes. That session had a kind of energy of the time: it was loud, hard, intense, noisey, and chaotic. It was how we were feeling then, that day at least, and with the first note everything was just pure communication. In the time since then, we've collaborated remotely, mostly through the Quarantine Concerts, a series I helped found in March 2020.
But with a few years between us, everything is a bit different, everyone in a new headspace and both of us were thinking to try something different. This time, it felt intuitively right to approach this next session with gentleness, patience, care, and maybe even a sort of kindness. So in October 2022, we did what we did the last time we met: made music. And as I said, the intuitions were, for me anyway, just the same, even as the content was different. There was a quiet care right there from the first sounds, and it all just waded into this wash, and here we are.”
Micro-dosed, slowly unfurling, panoramic visions of Americana by LA’s Shiroishi and Chicago’s Daniel Wyche, nodding to the deep listening works of Pauline Oliveros and careful minimalism of Michael Pisaro in a beautifully time-slipping durational work for Longform Editions
“This music is the second set of recordings Patrick and I have ever done, and it is not a coincidence that this is also the second time we've ever hung out in person. I encountered Patrick’s music through the web of mutual friends and connections, but I think it was primarily through Gabriel Vanlandingham-Dunn that I was inspired to really take a deep and focused listen around 2018. In 2019, I was taking a trip to LA to visit my sister and Patrick and I got in touch and made plans to do some recording as a trio with the percussionist Ted Byrnes. That session had a kind of energy of the time: it was loud, hard, intense, noisey, and chaotic. It was how we were feeling then, that day at least, and with the first note everything was just pure communication. In the time since then, we've collaborated remotely, mostly through the Quarantine Concerts, a series I helped found in March 2020.
But with a few years between us, everything is a bit different, everyone in a new headspace and both of us were thinking to try something different. This time, it felt intuitively right to approach this next session with gentleness, patience, care, and maybe even a sort of kindness. So in October 2022, we did what we did the last time we met: made music. And as I said, the intuitions were, for me anyway, just the same, even as the content was different. There was a quiet care right there from the first sounds, and it all just waded into this wash, and here we are.”