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XYLOURIS WHITE

Xylouris White

The Forest In Me

    Once the listener has set the needle down on the record and heard for themselves the intimacies and impressionism, abstraction and unfiltered emotion found in ‘The Forest In Me’, Xylouris White’s fifth album release (and first since 2019’s ‘The Sisypheans’), one may wonder what was the mood of the room in which this music came to be. Only three people can say for sure, and even then...

    Guy Picciotto: “In late 2019, we had begun taking steps to working on new material. In a haphazard fashion, Jim and I started tracking drums in my basement, cutting them up into shapes with no set landing in mind. Some of it we sent to Giorgos in Crete - he responded with his lyra and his lute. Without intention we had initiated a process that would soon become more ruthlessly mandated by the world events that separated and isolated us to three corners of the globe in the following year.”

    Giorgos Xylouris: “Every harmonic is a fallen tree trunk that I climb over. I’m stepping in muddy waters in the woods or coming to a clearing - that is part of the journey I take whether I am playing music with an audience or recording alone. It’s a journey around the forest of my inner self. That’s how I see it.”

    Jim White: “I ended up in the pandemic in rural Australia on care duty and then back in Melbourne alone in a house with an imminent, ultimately very long lockdown.”

    Giorgos: “The past several years created a very particular situation that none of us had ever lived through, in such seclusion in our homes and within ourselves. In the isolation I found other wrinkles/folds in my inner being. That helped create this music, as did the unusual way we went about recording.”

    Jim: “The night before the curfew I acquired some mics from a studio and bought an interface. And learnt to record. And tracked. George tracked in Crete. Guy, in New York, helped assemble the structures and find combinations.”

    Giorgos: “So every note, every phrase, every instrument came from in and around our inner forests.”

    Guy: “On previous projects our customary way of working was to be in one room all together; an inward facing triangle of instant communication leading to marathon sessions from which we would build an archive from which to sculpt the records, finding the binding lines that connected the statements we were trying to make.”

    Giorgos: “Using whatever instruments I had with me in the studio at home, in the silence I discovered things I hadn’t had the peace to uncover previously. I saw that music isn’t static, moving only in its usual ways within the parameters of its centrifugal force–it can move a long way further in other directions.”

    Guy: “With this record we still had that stash to draw from but now we were also adding material composed from this enforced new geometry; this different, wider triangle where we each assumed different roles than we had previously with writing, engineering, arranging all mixed up like finger paints.”

    Giorgos: “While we were recording, I noticed that the music had a certain solitude about it, both from the title and from inside. That led us to find more music from within that we had not yet discovered.”

    Jim: “The idea emerged, naturally nourished and nourishing a record with none of our usual angles and themes, no verbal language, no angst nor sudden dynamics, a more subtle structure. And we found ‘The Forest In Me’.”

    TRACK LISTING

    Second Sister
    Latin White
    Seeing The Everyday
    Missing Heart
    Tails Of Time
    Night Club
    Forest In Me
    Red Wine
    Underworld
    Witnessed By Angels
    Memories And Souvenirs
    Long Doll

    “C’est ce que je fais qui m’apprend ce que je cherche. (It’s what I do that teaches me what I’m looking for.)” - Pierre Soulages

    Jim White and George Xylouris have been friends since Jim’s early days in Dirty Three. Their musical connection goes back to then and led them to start Xylouris White in 2013. Since then, they have released three albums and been touring the world. ‘The Sisypheans’ is their fourth release.

    Jim on ‘The Sisypheans’: “As George Xylouris and I traveled around these last five years, we found ourselves talking about Sisyphus. George had a theory about Sisyphus, condemned to climb that hill with that rock forever. George saw him carrying the rock in different ways, in his left hand, behind his back, pushing it with his head while crawling and noticing each journey the seasons changing, the grass and the insects. The meaning was clear and for George it fit with playing the popular Cretan song ‘Proto Hanoti’ many turns each day for his life and discovering it new each time... I found it fit in with a long held set of thoughts I’d had, that if one concentrated activity and thought enough on one thing it would expand and be a whole world. It sounded like the same idea and also with the idea of first principles, for it to be new each time: that is our job as musicians. We would talk about this as we traveled playing music. One day a waitress heard us talking, and she asked if we knew the Camus essay about Sisyphus. We didn’t, but I got it in English and then we found it in Greek and it fit too. When we were playing in Louisville and working on Black Peak, we stayed at a house and saw the artwork you see on the cover, by Elsa Hansen Oldham... We’d finished the circular trilogy of Goats, Black Peak, and Mother and we found ourselves making -. What we do leads us to who we are, the Sisypheans.”

    TRACK LISTING

    Tree Song
    Goat Hair Bow
    Heart’s Eyes
    Telephone Song
    Black Sea
    Inland
    Wedding Song
    Ascension


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