On a dark and damp April evening, the steady rumble of rain echoes through The Charles River Museum of Industry and Innovation.
Its collection of mechanical breakthroughs stand dormant on the site of the former Boston Manufacturing Company in order to “encourage and inspire future innovation.” The star exhibit this evening, however, is not the bells, lathes, gears or gizmos, but Australian duo Xylouris White.
Lutist Giorgos Xylouris and drummer Jim White create music that calls back to Cretan folk with the energy and enthusiasm many would associate with punk rock. It’s an understandable comparison given their jumps between tender ballads and thunderous bursts of controlled chaos. The set is certainly a powerful and churning affair, but it gives way to playful wanderings and experimentation. When they did choose to speak between songs, it was to ask for a fresh beer. But the crowd watched on in wonder, happy to be taken along for whatever was to unfold.
The two originally met in the late 80s/early 90s while Giorgos was on tour with his father, legendary lyra player Psarantonis. After moving to Melbourne, he became better acquainted with Jim’s band, the Dirty Three, and even sat in with the group several times. And it was only four years ago that the two began playing and recording together as a duo.
“It was very natural from the beginning,” says White. “As soon as we started playing together, it felt like there were all of these pathways opening up [to explore]. It was good an exciting.”
Their two records, 2014’s Goats and last year’s Black Peak, were produced by Guy Picciotto, with whom they’ve worked in satellite projects orchestrated by filmmaker Jem Cohen. And their appreciators-of-note have only grown with each record. The band is now signed to the iconic Bella Union and continues to tour with the likes of Kurt Vile, PJ Harvey and Godspeed You! Black Emperor.
“It has to do with the personality of one another,” Xylouris adds. “And doesn’t have to do with the instrument, particularly. Like ‘Oh, you put a lute and drums together. Bravo! What a good idea.’ It’s not that. It’s who’s playing. Could be pheromones or whatever. It has to do with the aesthetics and the character and the personalities and the way everybody looks at music.”
The style that the two have developed is free of artifice. Not of gimmicks, but of a mutual appreciation of respective skill, histories, and a spirit of adventure. And goats.
“I think we’re goats, yeah. I mean, it’s obvious. But, you know…,” White trails off mid-laugh. “George thinks it’s a metaphor.”
“[Goats] decide to do stuff and they do it. Even if it’s dangerous. They are sure about it,” Xylouris describes. “The island of Crete is [high and rocky]. And there are goats everywhere. Whoever is farming goats has [a kind of pride] because they are free. To get the goats, you have to go with them all around the mountains to find them. And that’s like the style of life that we have as musicians. Our music, I believe, is like goats.”
The pair not only share this nomadic existence but emphasize a progression not dissimilar to the museum in which they sounded through. They draw upon the music of the past, with their eyes and ears fixed on the horizon and what it may or may not hold.
“What we’re doing drives us, takes us, to what we’re looking for,” explains Xylouris. “You find things. You learn things. And that’s the treasure.”
Xylouris White takes the Delta Blue Stage at 2:45 this Friday at Boston Calling before taking off on their European tour. “Goats” is available via Other Music Recording Co., and “Black Peak” is out now on Bella Union.