‘Multiphonic trills and yodels, loops of ululations, sudden percussive outbursts, warbling glissandi… sculptural, oscillating, swirling tone-colours… the human voice dissolving into the sounds of birds, machines, electronics, scraps of otherworldly language.’
Ute was a student of Henning Christiansen and Allan Kaprow; she is a collaborator of Rhodri Davies and Phil Minton, amongst many others.

Wonderful stuff; original, naked, visceral, transfixing, fun. Check it out.

‘Sound collages, bitter laughs, and deranged miniatures based on poetry and percussion recorded in a punk burst, along with field recordings and other oddities.
‘200 copies, screen-printed sleeves, risograph insert.’

Valentina from Holy Tongue together with Koshiro Hino from Goat.
‘Abrasive drums and handcrafted Japanese electronics… bliss carved from bruises.’

His comeback, forty years after Histoire De Melody Nelson, with the same signature mix — Axelrod-style orchestral sensibility and stoner funk-rock framing his own louche vocals, and poeticised and punning verses.

‘A celebration of the ever-expanding and evolving label family, LLI008 comprises an LP, a fifty-odd-page booklet (and eight page photobook and insert), further digital tracks and some web-based stuff contributed by friends new and old from far and wide.’

Half-speed mastering.

Demdike Stare and Andy Votel.

‘Investigations of the secret dialogue between the trickling of pond waters and the faint percussive reverberation of stalactites and stalactites. Rocky sediment played as tubular organs, glockenspiels, xylophones, stone marimbas. Crystalline timbral variations and subtle microtonal passages recall the chimes of Tibetan gongs and bells, the scales of Java and Bali. Amidst muffled pauses and silences, trills and rings, echoes and tremolos, hisses and pops of vibration, Maioli — often responding directly to polyrhythms created by dripping and falling water — builds his most imaginative sound-world.’

Says Maioli: ‘Beginning in 1986, my daughter Luce and I started experimenting with sounds in the spectacular caves of Toirano. We lived in this Ligurian town for three years at the beginning of the 1990s. A total immersion in prehistory. There are traces in the Upper Paleolithic of repeated percussion on stalactites and stalagmites. Not all stalactites and stalagmites make sounds when struck, but some reveal truly extraordinary and incredible sounds, from powerful low gongs to subtle, crystalline sounds. We also recorded (exceptionally) these fantastic sounds in the caves of Borgio Verezzi by hitting the stones directly with our hands or with special clappers so as not to damage them, with the supervision of the speleological guides.’