The protagonists of this album embrace the complexity, diversity, and innovative power of a musical tradition that, in this case, seeks dialogue with other languages, opening itself up to innovative music. On one side, we find the prepared Sardinian guitar, an alien instrument that has fascinated music critics from Europe and overseas; on the other, the guttural singing of the Tenore Murales, an expression of one of the most ancient polyvocalities in the Mediterranean, with similarities to Tuva and Mongolia.

In Vinti 'e Maju, the musical encounter occurs on different levels. The collaboration between Tenore Murales from Orgosolo and Paolo Angeli begins with the assimilation of the grammar of the Tenore's traditional languages ​​and extends to the guitar practices and repertoires of Gallura and Logudoro. The point of view is that of an island in the heart of the Mediterranean but, even more so, that of an island within the Island, Orgosolo, which generates a textual and dialectical comparison with other musical cultures, without ever renouncing its specificity.

Paolo Angeli grew up facing the sea in Palau, on the northern tip of Sardinia. Starting with the traditional instrument, he created a true guitar orchestra: a 25-string hybrid between a baritone guitar, cello, and drum kit, equipped with hammers, pedals, and variable-pitch propellers. With this singular creation, the Sardinian musician reworks, improvises, and composes unclassifiable music, suspended between free jazz, folk noise, minimal pop, and post-rock. Since the mid-1990s, Paolo Angeli has released 10 solo albums. Since 2005, he has lived in Barcelona and toured regularly at the most important festivals and theaters on every continent. In 2018, Angeli performed at Carnegie Hall in New York, thus entering the ranks of the world's most important "innovative musicians with roots." If Paolo Angeli's encounter with Giovanni Scanu, the venerable custodian of the Gallura and Logudorese forms, and with the undisputed master of the avant-garde, Fred Frith, was crucial in the 1990s, equally important was the request in 2003 for a new model of prepared Sardinian guitar by American guitarist Pat Metheny. He has improvised and collaborated with Fred Frith, Iva Bittova, Hamid Drake, Evan Parker, Antonello Salis, Pat Metheny, Jon Rose, and others.

The Tenore Murales of Orgosolo needs no introduction, representing one of the most important examples of Sardinian musical heritage. The Tenore Murales was founded in 1991. Soon after, it was established as a Cultural Association, including a dance troupe and several instrumentalists, with the aim of protecting, enhancing, and promoting the local language, culture, and traditions. Over its nearly thirty years of existence, in addition to its artistic activity, which has led the Tenore to participate in hundreds of events not only in Sardinia, but also throughout the peninsula and abroad, Murales has distinguished itself through its intense cultural activity. Over the years, it has promoted cultural events and musical festivals, conducted studies on Orgosolo's folk traditions, and edited several books. Since 1995, it has also organized singing and dancing courses in schools. It has participated in numerous national and international festivals and events. On September 22, 2013, during the Holy Father's pastoral visit to Cagliari, to seal the bond between the Sardinian capital and Buenos Aires, in the name of Sardinia's patron saint, Our Lady of Bonaria, Tenore Murales, with the participation of the dance troupe, sang in the presence of Pope Francis.

Tenore Murales has recorded several albums; among these, the 2018 album No sias isciau (Don't Be a Slave) stands out. The album won the 2019 Mario Cervo Recording Award, and is accompanied by a book that analyses Orgosolo singing, traces its history, and provides a comprehensive listening guide. For the first time, all ten performance modes of the tenor from Orgosolo are contained on a single CD; for the first time, two Tenores are featured on a single album, singing sometimes separately and sometimes together, in a mode known in Orgosolo as Mibelli. The book, written by Banne Sio, with texts in Sardinian, Italian and English, contains an in-depth analysis of Orgosolo singing: from the description of the peculiarities of the Orgosolo tenor to the analysis of all the performance modes of the repertoire.