Phil Minton continues his unique vocal "donut" series with this LP, a perverse set of utterances, vocal sounds, "songs" and other technically challenging and entertainingly bizarre pieces that challenge the abilities of voice and the concepts of improvisation.
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Reordered on 1/17/2018
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Includes download and streaming code.
Catalog ID: Fataka 11
Squidco Product Code: 21025
Country: Great Britain
Recorded at City University Music Studios in April & June 2013 by Rock Campion.
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• Show Bio for Phil Minton
"Phil Minton comes from Torquay. He played trumpet and sang with the Mike Westbrook Band in the early 60s- Then in dance and rock bands in Europe for the later of part of the decade. He returned to England in 1971, rejoining Westbrook and was involved in many of his projects until the mid 1980's.
For most of the last forty years, Minton has been working as a improvising singer in lots of groups, orchestras, and situations, all over the place. Numerous composers have written music especially for his extended vocal techniques. He has a quartet with Veryan Weston, Roger Turner and John Butcher, and ongoing duos, trios and quartets with above and many other musicians.
Since the eighties, His Feral Choir, where he voice-conducts workshops and concerts for anyone who wants to sing, has performed in over twenty countries."-Phil Minton Website (https://www.philminton.co.uk/8-2/)
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1. How Grand 1:54
2. This Is A Good Place To Stay 3:05
3. Breaking News 3:50
4. Wilkins Rejoice 2:09
5. Can I Stay Here For A Time? 3:43
6. Still Breathing 2:18
7. I Didn't Catch That 3:27
1. There's A Reason 3:04
2. Set In Stone 2:40
3. Can I Help? 1:11
4. I Was There When It Happened 1:25
5. Is It Safe? 1:00
6. Doughnut Results 2:45
7. Delight 1:38
8. Grandish 3:52
sample the album:
"There's a lot to be made of 2015's crop of vocal music, especially given how widely that descriptor could be applied. From the timbral madness of C. Spencer Yeh's extended technique all the way through to the auto-tuned euphoria of Sicko Mobb, the voice has been pushed, pulled, and expanded beyond the reaches of human capability, delivering incisive music across a number of genres and disciplines. The abstraction of that most ubiquitous and instinctive of musical instruments has been a pivotal part of what this year has sounded like to these ears: the impossible made possible, the future now, the distinction between man and machine collapsing. To put it in a Baudrillardian sense: "Technology evolves, language changes, the voice breaks, fate overtakes us."
Phil Minton has been exploring the liminality of the human voice for the best part of four decades, with a series of solo records (the "doughnut" albums) beginning in 1982. He is described as a singer in the biography on his website, but his latest solo work, A Doughnut's End, bears little semblance to any traditional notion of song. Utilizing a number of unorthodox techniques - utterances, gasps, belches, whistles, etc. - Minton has forged an alternative lexicon, one that seemingly forgoes the constraints of tradition and language. The result is a perverse, evocative set, the kind of performance that forces a reaction and demands attention be paid to it - music that has the power to cause unrest and revulsion in the listener."-Soe Jherwood, Tiny Mix Tapes
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Get additional information at Tiny Mix Tapes
London & UK Improv & Related Scenes
Unusual Vocal Forms
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