Brother of Nikos (1936-1980) and Yiannis Xylouris (b. 1943), Antonis Xylouris, known as Psarantonis, was born in Anoyia Crete in 1942. He first picked up the lyra at age 13, and within one month, played at his first wedding. "The job was funny", Psarantonis now reflects. Named after his grandfather who was also a lyra player, Psarantonis in three years became one of the most renown new talents in Crete. Psarantonis plays various sorts of lyres as well as laouto, 12 stringed laouto, mandolino, tzoura, and daouli.In 1964 Psarantonis cut the single "Eskeftika Na S'Arnitho" (I Thought of Denying You). Since then he has released "Kritiki Ksasteria" (Clear Cretan Night) "Saitemata" (Arrow Hits) "Pyges" (Sources), "Anastorymata" (Recalling to Memory), "Ta Merakia tou Psarantoni" (The Merryness of Psarantoni), "Apo Floges I Kriti Zwsmeni" (Crete is Belted from Flames), "Palio Krasi Ein'I Skepsi Mou" (My Thoughts are Like Old Wine), "Apo Kardias" (From the Heart or From Heart), "Nogo" (I Reckon), "Idaion Andron" (The Ancient Greek name of the cave on Mount Psiloritis in Crete said to have sheltered the young Zeus, when Rea hid him from his father Kronos),"Rizitika",and his latest "Na 'xen i thalassa bouna"(Had The Sea Mountains)Psarantonis is an acquired taste. He plays unlike any of his peers. His singing is like no one else's, ranging from mellow whispers, to low singing, from cacophonous bellowing to an incomprehensible moaning. His playing ranges from simple to beautiful from wild to painful. Handpicking the musicians that accompany him, he composes a sound rooted in tradition -only newly interpreted. Psarantoni's old albums consisted of him playing lyra with two laouta (his son was usually one), but he always added another instrument if he could, such as the askomandoura (a cretan bagpipe). As time progressed Psarantoni added more instruments to his compositions such as outi, mandolino and bulgari. Today Psarantoni's albums are not lyra- laouto compositions, like most cretan albums of today. The use of more instruments, such as a lyraki (a small lyra) accompanied by a vrodolyra (a large lyra that looks like a small cello), allow him to form compositions that are deeper in texture than anyone else's today.I have heard it stated by many musicians and people who have heard him play, that during private moments, if he were to play "normally" like everyone else, note for note he would be recognized as the best lyra in Crete today. Why he decides to play differently is known only to him and many rumors circle as to why. I for one, am happy that he plays the way he plays and that he creates a unique and singular mood and experience that is untouched by anyone else.
[by John Koutsoupakis]
