Dark Matter Promotions

Širom

Highly praised Slovenian ‘Imaginary folk’ multi-instrumentalist trio. “Episodic, dreamlike voyages” The Guardian. “A deep-breathing, ecstatic joy” – Uncut

The intertwining of diverse musical approaches and tools, histories of sounds and unbridled musical imagination and craftsmanship is the expansive guiding principle of the Širom trio. More than a dozen instruments can be found in the repertoire of Iztok Koren, Samo Kutin and Ana Kravanja and at least as many given musical forms that can be perceived as an inspiration behind the character of this ensemble. However, in their practice as well as experience they remain anchored in their creative process to an extent that allows them to avoid merely reflecting existing patterns. What this generates in an original, stylistically homogeneous form of expression that oscillates between a wide array of folk sounds and contemporary acoustic rock-style meditations. The end result is grounded yet still mystical minimalism. Širom’s music is contemplative, but can get harder when necessary, it is closer to being band- than chamber-like, to being street as opposed to urban in nature.

Line-up:
Ana Kravanja:
violin, viola, ribab, daf, ocarinas, mizmar, flute, balafon, cünbüs, kalimba, various objects, voice

Iztok Koren:
guembri, banjo, three-string banjo, tank drum, bass drum, percussion, balafon, chimes, various objects

Samo Kutin:
hurdy gurdy, tampura brač, lyre, lute, brač, chimes, balafon, frame drum, ocarina, ikitelia, one string bass, ukulele, mizmar, gongoma, acoustic resonators, various objects, voice

“It occasionally recalls the junkyard compositions of Moondog, the hypnotic tuned percussion of Steve Reich, the controlled chaos of the Art Ensemble of Chicago, or the shanty-town minimalism of the Penguin Cafe Orchestra.” **** The Guardian

“This music is syncretic, working folk, medieval, drone and traditional musics into complex, intuitive improvisations …. Full of guttural incantations, circling chants, clattering percussion. A deep-breathing, ecstatic joy.” 8/10 Uncut

“This is deeply enjoyable music that refuses to be anything but itself and is joyful because of it.” 5/5 UK Vibe

“Fascinating music that you can easily become addicted to, in short, that’s what it comes down to.” – Moors Magazine

Dean McPhee

Solo dub-ambient electric guitar from Bradford touring sixth album

“One of the leading contemporary guitar stylists in the UK, and in the world” – Steve Barker, BBC ‘On the Wire’

At any given time, there are always a handful of visionary guitarists who carve out their own compelling and distinctive niche, as well as many more who exhibit virtuosic technique or write consistently great songs. McPhee’s work checks off all three of those boxes, but his greatest moments reach another plane altogether where it feels like he is channeling something much deeper, more timeless, and almost supernatural”(Anthony D’Amico, Brainwashed)

“Set within an electric ancestry that includes Michael Karoli’s solos in Can, the hymnal rock of Popol Vuh’s Daniel Fichelscher and the sonic spaciousness of dub, as well as the emotional punch of John Martyn’s dawn-lit Echoplex epic, ‘Small Hours’.” (Frances Morgan, The Quietus)

Dean McPhee plays a Fender Telecaster through a valve amp and subwoofer with kick drum and effects, and he is influenced by Dub, Modal Jazz, British Folk, Underground Electronic Music and Psychedelic Rock. A self-taught musician with a fluid technique and an inventive approach to sound, his music is melodic, hypnotic and trance-inducing with a deep sense of space.
Dean has toured the UK and Europe and opened for artists such as Thurston Moore, The Magic Band, Acid Mothers Temple, Michael Chapman, Meg Baird, Michael Hurley, Josephine Foster, Emeralds, Robert Aiki Aubrey Lowe, Charalambides and Wolf People. His music has received international radio play and has been acclaimed by the likes of MOJO Magazine, The Wire Magazine, Dusted, Louder than War, Uncut Magazine, Brainwashed and The Quietus.