Prolific reed master Patrick Shiroishi faces off with Argentinian sax wizard Camila Nebbia once more on 'We Speak in Rivers'.
Comb through any catalog of contemporary experimental music and you're almost guaranteed to stumble across Shiroishi. He's unfathomably well-connected and appears to be recording constantly: only in the last few years he's collaborated with claire rousay, Zachary Paul, John Krausbauer and Chris Williams, among others, playing on records from black metal band Agriculture, hardcore collective The Armed, Hausu Mountain's Quicksails, and Big|Brave. It's a wonder he's had time to compose his own solo albums, but he's managed to rustle up records for Touch and American Dreams too.
He's collaborated with Berlin-based composer and saxophonist Nebbia plenty of times, and 'We Speak in Rivers' features Shiroishi on alto and Nebbia on tenor, the two pushing each other into places unknown. It's rubbery improvisational gear that'll surely attract fans of limber horn gurus like Mats Gustafsson, but the duo's most intriguing moments appear when they cut the bluster for a second. On 'They rise like a wave', it's the strangled breath sounds that take the spotlight, and 'A genocide of flowers' is even more sparse, a celebration of negative space that barely erupts into a whisper.
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Prolific reed master Patrick Shiroishi faces off with Argentinian sax wizard Camila Nebbia once more on 'We Speak in Rivers'.
Comb through any catalog of contemporary experimental music and you're almost guaranteed to stumble across Shiroishi. He's unfathomably well-connected and appears to be recording constantly: only in the last few years he's collaborated with claire rousay, Zachary Paul, John Krausbauer and Chris Williams, among others, playing on records from black metal band Agriculture, hardcore collective The Armed, Hausu Mountain's Quicksails, and Big|Brave. It's a wonder he's had time to compose his own solo albums, but he's managed to rustle up records for Touch and American Dreams too.
He's collaborated with Berlin-based composer and saxophonist Nebbia plenty of times, and 'We Speak in Rivers' features Shiroishi on alto and Nebbia on tenor, the two pushing each other into places unknown. It's rubbery improvisational gear that'll surely attract fans of limber horn gurus like Mats Gustafsson, but the duo's most intriguing moments appear when they cut the bluster for a second. On 'They rise like a wave', it's the strangled breath sounds that take the spotlight, and 'A genocide of flowers' is even more sparse, a celebration of negative space that barely erupts into a whisper.
Prolific reed master Patrick Shiroishi faces off with Argentinian sax wizard Camila Nebbia once more on 'We Speak in Rivers'.
Comb through any catalog of contemporary experimental music and you're almost guaranteed to stumble across Shiroishi. He's unfathomably well-connected and appears to be recording constantly: only in the last few years he's collaborated with claire rousay, Zachary Paul, John Krausbauer and Chris Williams, among others, playing on records from black metal band Agriculture, hardcore collective The Armed, Hausu Mountain's Quicksails, and Big|Brave. It's a wonder he's had time to compose his own solo albums, but he's managed to rustle up records for Touch and American Dreams too.
He's collaborated with Berlin-based composer and saxophonist Nebbia plenty of times, and 'We Speak in Rivers' features Shiroishi on alto and Nebbia on tenor, the two pushing each other into places unknown. It's rubbery improvisational gear that'll surely attract fans of limber horn gurus like Mats Gustafsson, but the duo's most intriguing moments appear when they cut the bluster for a second. On 'They rise like a wave', it's the strangled breath sounds that take the spotlight, and 'A genocide of flowers' is even more sparse, a celebration of negative space that barely erupts into a whisper.
Prolific reed master Patrick Shiroishi faces off with Argentinian sax wizard Camila Nebbia once more on 'We Speak in Rivers'.
Comb through any catalog of contemporary experimental music and you're almost guaranteed to stumble across Shiroishi. He's unfathomably well-connected and appears to be recording constantly: only in the last few years he's collaborated with claire rousay, Zachary Paul, John Krausbauer and Chris Williams, among others, playing on records from black metal band Agriculture, hardcore collective The Armed, Hausu Mountain's Quicksails, and Big|Brave. It's a wonder he's had time to compose his own solo albums, but he's managed to rustle up records for Touch and American Dreams too.
He's collaborated with Berlin-based composer and saxophonist Nebbia plenty of times, and 'We Speak in Rivers' features Shiroishi on alto and Nebbia on tenor, the two pushing each other into places unknown. It's rubbery improvisational gear that'll surely attract fans of limber horn gurus like Mats Gustafsson, but the duo's most intriguing moments appear when they cut the bluster for a second. On 'They rise like a wave', it's the strangled breath sounds that take the spotlight, and 'A genocide of flowers' is even more sparse, a celebration of negative space that barely erupts into a whisper.