Phil Minton and Maggie Nicols have been performing together for close to half a century, with their first recorded collaboration being 1977's landmark "Voice" release on Ogun Records, which documented a 1976 London performance alongside Brian Eley and Julie Tippetts. Despite appearing together on numerous recordings since then however, this is remarkably their first ever duo release. This set, recorded at OTO in October 2022 on the first event of a three-day residency with Maggie, finds the duo in customary, playful, curious and generous form. Over 20 packed minutes, the pair craft a dizzying interplay whose seeming effortlessness belies the sheer amount of craft on display. Weaving astonishing virtuosity with an easy intimacy, this is an unmissable performance from two improvised music greats. "In describing how we can find meaning in unconventional vocal sounds, Nicols and Minton also criticize ideologies that dismiss these sounds as worthless or dangerous. Their devotion to these sounds, despite such pervasive denigration, should inspire us to do more to help make marginalized sounds, voices, and people heard." – Social Virtuosity and the Improvising Voice; Phil Minton & Maggie Nicols Interviewed by Chris Tonelli -- Recorded by Billy SteigerMixed and mastered by Oli BarrettCover photograph by Phil Minton

At times barely more than breathing, at others breaking into full-throated song, A Doughnut's End is a highly concentrated sequence of solo improvisations that captures the full range of Minton's vocal powers. As he says in the accompanying notes, while there is continuity between this record and previous "doughnut" albums, this latest offering is "less optimistic than forty years ago" when he still "thought stuff would get better", an optimism diminished by the continued political dominance of "slush-spraying doughnut-scoffers". A Doughnut's End is a stark and affecting testament to one man's ongoing exploration of the potential of the human voice. "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. . . . An air of fragility lingers throughout, a reminder that even Minton’s finely honed, idiosyncratic delivery is all too susceptible to the inevitable pitfalls of existence. . . . The primal outpouring of A Doughnut’s End is all-consuming, and without language to dirty the proceedings, it is as much a personal meditation as it is a display of pure virtuosity." - Soe Jherwood, Tiny Mix Tapes "Many of the sounds on the album’s 15 short tracks are unpleasant, but they’re all the more powerful for it. This work is in no way deprived of wonder, and you have to marvel at the breadth of what Minton can do. “Breaking News” bleeds from high pitched warbling to multiphonic density, the throat pushed to the weirdest limits of its potential. “There’s A Reason” reprises this sonic field, almost electronic in texture, while “Set In Stone” takes these techniques and flirts with the operatic. “Grandish”, the album’s final track, works through a series of high pitched peeps that could come from an as yet unidentified beast." - Matt Krefting, The Wire "Things flap and billow a bit more than they used to, which Minton accentuates in the formation of starker, more striking vocal shapes – unstable vibratos, phlegmy belching baritones. What if it isn’t volume and clear articulation that renders a voice audible amongst the masses, but visceral wordless eccentricity?" - Jack Chuter, ATTN Magazine --- Phil Minton / voice --- Recorded (April & June 2013) and mixed by Rick Campion at City University Music Studios. Mastered by Rupert Clervaux at Gray’s Inn Road. Photography by Jocelyn Low. Music by Phil Minton (PRS) Produced by Trevor Brent

"Minton spins the dial across the spectrum of vocalising. At points it feels as if semantic meaning is under the skin - a Beckettian monologue is close by - but then it skitters away. Minton wants us to find meaning in sound rather than the other way around." Louise Gray, The Wire, 2021 "But the Acoustic Chicken is tame beside Woke Up At 8, a free range download from Torquay vocalist Phil Minton. This thirty minute one-take outburst showcases the octogenarian’s unfailingly ability to make unexpected sounds come out of his mouth, often inhuman, often all too human, and owing as much to Beckett’s Not I as to the sacred tablets of improvised music. Panic, terror, social embarrassment, primordial energy and existential awe break the barriers of Minton’s all-consuming and physically exhausting soundscape. "  Stewart Lee, 2021 "Minton immediately triggered the flux of temperamental vocalism he’s renowned for. Shards of verbalization beyond the human, preposterous implosions, deranged emulations, triturated syllables... Thirty minutes of incredibly natural virtuosity summarize an entire existence." Massimo Ricci - touching extremes, 2021 Fished from a dream and dispelled through his contorted and bewitching vocal chords, long-time OTO-favourite Phil Minton shares with us a stunning new one-take solo recording. Phil turned 80 last November and was due to celebrate it with a residency at OTO, but as it couldn't happen we're happy to share this instead, and look forward to having him back in the venue soon... "I had never tried recording myself before, but since the dreaded youknowwhat I’ve been stuck at home, like most people. There's been some music zoomups with colleagues in various parts of the world which I’ve really loved, practicing the trumpet, some far out voice improvising with my grandchildren to keep my chops bouncing, walking our dog Molly, an occasional puff now and again and a glass of vino or two, but no travel and singing in front of people like there has been for the last sixty or so years. Putting out the recycling every Wednesday evening was no substitute, so when Fielding asked if I would like to record a solo for Otoroku, I thought great yes, i’ll give it a go. A new departure. I've always had a problem with technology, I can’t drive among other things, and the practice of improvising and button pushing etc all on the same day is difficult for me: my brain sort of curdles into a white noise custard, whistling and walking no problem. I've had some recording tips from other musicians and have a not so difficult recording program, so when I see that the sound waves are not going into the red when I get loud, all I have to do is press start and off we go - all pretty straight forward. I recorded *woke up at eight* in the morning after not sleeping that well, before any breakfast. I had a lot of fast sounds and images from half remembered dreams only just below conciousness. I’ll leave it to the listener to imagine a narrative if needed. As it is with most dreams, I remember nothing now, just an abstract sense of speed going nowhere…. If you do listen to the recording, please do it in one take like it was recorded and I really do hope you enjoy or whatever. *Also on Fontana records circa 1965, last line. "Because I new that my basal metabolism was not so demanding” A beatnik observation for the time, the producer requested the American accent." - Phil Minton -- Phil Minton - voice & recording -- Artwork design by Oliver Barrett

Sold out as a CD, we're pleased to add this classic duo's second release to the shop. Dada-da follows the debut vinyl release (also on Leo) Ammo, and was recorded in London by Emanem's Martin Davidson.  --- Phil Minton / vocals Roger Turner / percussion --- Tracklisting: 1. Ah Ha - 2:192. Wa Wa - 3:503. Lala La La La - 5:184. Car - 4:475. Za Za - 10:386. Chacha Cha - 13:197. Ba Ba - 3:588. La Du Da - 5:369 . Dee Da - 4:3310. Da Da - 0:35 --- Recorded at the Singapore Pedang, London, 18 January, 1993 by Martin Davidson. Artwork by L. Denis. Remastered by D. Bernez.